Dare 2017 book of abstracts

To become is never to imitate, nor to ‘do like’, nor to conform to a model, whether it is of justice or of truth. There is no terminus from which you set out, none which you arrive at or which you ought to arrive at. Nor are there two terms which are exchanged. The question ‘What are you becoming?’ is particularly stupid. For as someone becomes, what he is becoming changes as much as he does himself.

Becomings are not phenomena of imitation or assimilation, but of a double capture, of non-parallel evolution, of nuptials between two reigns. Nuptials are always against nature. Nuptials are the opposite of a couple. There are no longer binary machines: question-answer, masculine-feminine, man-animal, etc. This could be what a conversation is - simply the outline of a becoming. The wasp and the orchid provide the example.

— Gilles Deleuze and Claire Parnet, Dialogues II

DARE 2017 second international conference on deleuze and artistic research O R P H E U S INSTITUUT

orpheus institute ghent | 20–22 november

A B E R R A N T

N U P T I A L S

DARE 2017 second international conference on deleuze and artistic research ghent | 20–22 november

A B E R R A N T

N U P T I A L S

To become is never to imitate, nor to ‘do like’, nor to conform to a model, whether it is of justice or of truth. There is no terminus from which you set out, none which you arrive at or which you ought to arrive at. Nor are there two terms which are exchanged. The question ‘What are you becoming?’ is particularly stupid. For as someone becomes, what he is becoming changes as much as he does himself.

Becomings are not phenomena of imitation or assimilation, but of a double capture, of non-parallel evolution, of nuptials between two reigns. Nuptials are always against nature. Nuptials are the opposite of a couple. There are no longer binary machines: question-answer, masculine-feminine, man-animal, etc. This could be what a conversation is - simply the outline of a becoming. The wasp and the orchid provide the example.

— Gilles Deleuze and Claire Parnet, Dialogues II

ME21 As part of MusicExperiment21, DARE 2017 has received funding from the European Research Council under the European’s Seventh Framework Programme (FP/2007-2013) / ERC Grant Agreement n. 313419.

ABERRANT NUPTIALS DARE 2017 International Conference on Deleuze and Artistic Research Orpheus Institute, Ghent, Belgium 20–22 November 2017 Conference Chair Paulo de Assis Conference Coordinator Paolo Giudici Scientific Committee Paulo de Assis, Chair (Orpheus Institute, Ghent, BE) Paolo Giudici, Conference Coordinator (Royal College of Art, London, UK) Zsuzsa Baross (Trent University, Peterborough, CA) Arno Böhler (University of Vienna, AT) Henk Borgdorff (University of the Arts, The Hague, NL) Laura Cull (University of Surrey, Guildford, UK) Lucia D’Errico (Orpheus Institute, Ghent, BE) Mika Elo (University of the Arts, Helsinki, FI) Emine Görgül (Istanbul Technical University, TR) Julian Klein (Institut für künstlerische Forschung, Berlin, DE) David Savat (executive editor of the Deleuze Studies Journal) Michael Schwab (University of the Arts, Helsinki, FI. Editor in chief of the Journal for Artistic Research. Orpheus Institute, Ghent, BE) Kamini Vellodi (University of Edinburgh, UK) Conference Organisation Juan Parra Cancino (Sound Engineer), Kathleen Snyers (Front Desk Coordinator), Heike Vermeire and Daphne Ronse (Front Desk Support), Gilles Anquez (Director of Videography), Jessica Kelly (Videography), Daniela Fantechi (Technical Support) Conference Book Editors Paulo de Assis Paolo Giudici Copy Editor Ed Crooks Graphic Design and Layout Lucia D’Errico Typefaces Avenir Next Condensed Futurity 21 Paper Classic demimatt 130 gm2 ©2017 Orpheus Research Centre, Orpheus Institute, Ghent ISBN 9789490389055

PREFACE

The biennial conference series Deleuze and Artistic Research (DARE) explores productive encounters between different areas of knowledge and artistic production, focusing on the transdisciplinary field of artistic research. Thus, it welcomes musicians, artists, philosophers, scientists, scholars, and researchers from backgrounds as varied as possible and accepts presentations in text-based and other formats (performance, film, installation, etc.). By ensuring the greatest possible inclusivity, DARE strives to provoke encounters between philosophers, artists, and artist-researchers.

For the first edition of the conference in 2015, we chose the dark precursor as our leading concept. It is a highly poetic notion, one of Deleuze’s most expressive inventions, that articulates the fundamental disparity of any given intensive system and connects heterogeneous fields of forces, having the transductive power of shaping other events, encounters, and concepts. Without the continuous tremblings produced by infinite dark precursors, no energy would flow between different series, and nothing would be perceptible or apprehensible in the world. Thus, the dark precursor concerns the question of how communication between heterogeneous systems of couplings and resonance occurs without being predetermined.

Where our first conference exposed and reflected the duality and openness inherent in artistic research, aberrant nuptials is its natural continuation. The title quotes Deleuze’s celebrated passage on the wasp and the orchid proposing the relation between art and research as a double-capture, for which Gian Lorenzo Bernini’s Apollo and Daphne is appropriated as an allegory. Passionately chased by Apollo, Daphne tries to escape him through an aberrant (yet well desired) metamorphosis: a becoming-tree that rescues her, even if at the price of losing her human condition. Becoming-non-human, becoming-tree, becoming-bark, becoming-foliage, becoming-branches, becoming-roots are many of the modes through which Daphne herself becomes a zone of indeterminacy, a radicalised body without organs (literally), inaccessible to love, protected from desire. Yet, the wasp and the orchid work together for the fertilisation of other orchids; that is, they labour with a goal and purpose. Apollo and Daphne offer a more extreme form of nuptials, one that excludes reproduction, (mis)functioning only through pure flows of desire. They operate a complete deterritorialisation of the strata, making it difficult (if not impossible) to think their nuptials in terms of a plane of organisation. They point towards another kind of plane, one that doesn’t follow the arrangement of structures, nor the transformation 6

of structures into other structures, but that makes transversal modes of communication thinkable and materially graspable. It is the nomadic plane “of those who only assemble,” looking for an adequate outside with which to assemble in heterogeneity, rather than a world to reproduce. Aberrant nuptials, thus, are assemblages of heteroclite things and codes, building “inconsistent planes of consistency,” planes of “metastable consistency” that are neither consistent nor inconsistent. Such planes are populated and traversed by “the most disparate of things and signs,” creating unexpected connections, and fostering the emergence of machinic assemblages of desire.

Paulo de Assis, Conference Chair

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PREFACE

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KEYNOTE PRESENTATIONS GEOMUSIC, ECOSOPHY, AND MOLECULAR OSCILLATORS Ronald Bogue

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AN AVANT-GARDE “WITHOUT AUTHORITY”: THE POST-HUMAN COSMIC ARTISAN IN THE ANTHROPOCENE jan jagodzinski

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THOUGHT BEYOND RESEARCH Kamini Vellodi

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ON THE BECOMING OF AN OEUVRE: ALBERT FLOCON MEETS GASTON BACHELARD Hans-Jörg Rheinberger

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THE WASP AND THE ORCHID: ON MULTIPLICITIES AND BECOMOLOGY Anne Sauvagnargues

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DELEUZE, HARAWAY, ANIMALS, AND BECOMING Ian Buchanan

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MEMORY’S WOUND IS A SPACE WITH-IN ME: TO RETHINK THE CRYSTALLINE WITH THE HUMANE, TO RETHINK ABSTRACTION WITH DEPTH Bracha L. Ettinger

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DELEUZE’S SYNTHESES OF TIME AND ITS AESTHETIC PROLONGATIONS: FORM, STYLE, AND ACHIEVEMENT; CAN PHILOSOPHY TELL SOMETHING TO MUSICIANS? Jean-Marc Chouvel

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29 ELEGY TO AN OZ REPUBLIC: FIRST STEPS IN A CEREMONY OF INVOCATION TOWARDS RECONCILIATION Barbara Bolt MYTHOPOESIS, FABULOUS IMAGES, AND MEMORIES OF A SORCERER Simon O’Sullivan

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CONCERT ABERRANT NUPTIALS Paulo de Assis, Lucia D’Errico, ME21 Collective

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DIALOGUES DIALOGUE I: SCHIZOANALYSIS FOR ARTISTIC RESEARCH AND VICE VERSA Presented by Piotrek Świątkowski With Ronald Bogue, Ian Buchanan, Guillaume Collett, jan jagodzinski, Bracha L. Ettinger

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DIALOGUE II: NEW MATERIALISM(S) FOR ARTISTIC RESEARCH Presented by Paulo de Assis With Barbara Bolt, Jean-Marc Chouvel, Vlad Ionescu, Simon O’Sullivan, Sjoerd van Tuinen, Kamini Vellodi

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PLATEAU 1

chaired by Ronald Bogue THE TIME OF THE ENCOUNTER Zsuzsa Baross

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MUSIC AS RESERVOIR OF THOUGHT’S MATERIALIZATION: BETWEEN ‘METASTASIS’ AND ‘MODULOR’ Marianna Charitonidou

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NOMADIC AND TRANSVERSE ARTISTIC PRACTICES Jean-Charles François

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BECOMING LANDSCAPES: CONSTRUCTING THE HOUSE Christoph Walter Pirker

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SUPERFOLDING: THE ACCELERATIONIST NATURE OF CULTURAL EVOLUTION Andrej Radman

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PLATEAU 2

chaired by jan jagodzinski OUTSIDE INTERIOR : ?INTERIOR Suzie Attiwill

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SONIC FORMS OF CAPTURE Terri Bird

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ENCOUNTERING FASHION Andrea Eckersley

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MACHINIC PROPOSITIONS Henrik Frisk and Anders Elberling

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LISTENING FOR A NEW BODY: THINKING CHANGE AND LEARNING REASON 66 WITH DIFFERENCE AND REPETITION AND SPINOZA: PRACTICAL PHILOSOPHY Antonia Pont PRACTISING PHILOSOPHY Jon Roffe

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THINKING DANCE IN RELATION TO DELEUZE’S NIETZSCHE Philipa Rothfield

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PLATEAU 3

chaired by Kamini Vellodi THE MINOR ACTOR: THE COMPOSING PLANE OF PERFORMATIVE BODIES Lindsay Gianoukas (Lindsay T. Gianuca)

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ANNE TERESA DE KEERSMAEKER: AN UNBRIDLED ACTIVITY OF GOTHIC LINES Oleg Lebedev

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BARE YOUR SELF NAKED FOR CREATION. NOTES ON IMPERSONALITY, THE ENCOUNTER AND A BODY FOR A LIFE Fernando Machado Silva

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A POLITICS OF SENSATION? RENDERING FORCES VISIBLE, ACTIVE, AND REACTIVE IN THE WORK OF ELIZABETH PRICE Eva Richardson McCrea

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SYNCOPATED RHYTHMS IN THE WORK OF BURROWS AND FARGION Jonas Rutgeerts

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PLATEAU 4

chaired by Ian Buchanan MILIEUS OF LOCALITY. THE AESTHETIC OF THE POINT OF VIEW Sara Baranzoni

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LOGIC OF SENS/ATION: TWO CONFLICTING CONCEPTIONS OF TRANSDISCIPLINARITY IN DELEUZE AND GUATTARI Guillaume Collett

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PURE IMMANENCE AND ALGORITHMIC ERA: AN ABERRANT NUPTIAL Emilia Marra

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MILIEUX OF DESIRE Anaïs Nony

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TOPOGRAPHY OF THE (ONE) Stefan Östersjö and Christer Lindwall

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EXPERIMENTING FACE TO THE ANTHROPOCENE: AN IMAGE OF THE EARTH-THOUGHT FROM A SYMPTOMATIC EARTH’S LINE Paolo Vignola

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PLATEAU 5

chaired by Bracha L. Ettinger A DOUBLE CAPTURE OF BODY AND LIFE: DELEUZE, BACON, SAUKA Jūratė Baranova

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ECOLOGIX: TOWARDS AN ECO-LOGIC OF DISSENSUS Jessie Beier

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HOW TO KNOW: A SPACE Marina Kassianidou

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RECONCEPTUALISING THE DELEUZIAN ARTIST: INTENTION IN ART PRACTICE Niall Kennedy

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THE PHILOSOPHER AS A LINE: A DELEUZIAN PERSPECTIVE ON DRAWING AND THE MOBILE IMAGE OF THOUGHT Janae Sholtz

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FUKUSHIMA MON AMOUR: UNNATURAL NUPTIAL OR UNNATURAL PARTICIPATION IN GUATTARIAN ECOSOPHY Toshiya Ueno

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PLATEAU 6

chaired by David Savat PHOTOGENESIS—BROKERING WORLD Peter Burleigh

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“A LIFE AS AN OPEN LANDSCAPE”: SYSTEMS OF CODETERMINATION IN THREE ROBOTIC SHOWS Zornitsa Dimitrova

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MINING THE AESTHETICO-CONCEPTUAL: DELEUZE, DERRIDA AND ARTISTIC RESEARCH Spencer Roberts

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DIVERGING DOUBLES: BETWEEN THE SENSING BODY AND ITS PROJECTED IMAGE George Themistokleous

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INTERSPECIES SONIFICATION: DELEUZE, SIMONDON AND BIOART Audronė Žukauskaitė

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PLATEAU 7

chaired by Jean-Marc Chouvel EAST MEETS WEST IN FRANCE: CATCHING THE MUSICAL SCENT Edward Campbell

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SONIC NUPTIALS. COMPOSITION AND IMPROVISATION IN A DOUBLE CAPTURE: REFRAIN AND PROCESSES OF TERRITORIALIZATION Rogério Luiz Moraes Costa and Valéria Muelas Bonafé

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CHAOS SIVE NATURA Obsolete Capitalism Sound System

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DETERRITORIALISE YOURSELF! Chris Stover

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PLATEAU 8

chaired by Barbara Bolt SOUND AND IMAGE IN ARTISTIC FLOODING: VLADIMIR TARASOV, BILL VIOLA Lilija Duobliene

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POLITICAL AFFECT AND BECOMING-CHILD: THE CASE OF MARLENE DUMAS Sotiria – Ismini Gounari

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CHAOSMIC NUPTIALS: THE SECRET LANGUAGE OF MONDRIAN’S JAZZ Runette Kruger

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DELEUZE’S AESTHETICS: FROM A TRANSCENDENTAL EMPIRICISM TO A PHILOSOPHY OF NATURE Catarina Pombo Nabais

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THE ARTIST AS A CHILD: BECOMING A SELF-PROPELLING WHEEL Daniel Weizman

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GENIUS AND GENESIS Magdalena Wisniowska

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PLATEAU 9

chaired by Simon O’Sullivan FICTION, PHILOSOPHY, AND POETRY WRAPPED AROUND THE CREAL: ON WRITING THE NOVELLA WHO KILLED THE POET? Luis de Miranda

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FICTIONING A THOUGHT OF PERFORMANCE Tero Nauha

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DELEUZE, DURAS: DESIRE, COMMUNITY, POWER Katie Pleming

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SCULPTURE INSTALLATION: GARDEN OF SMALL NUPTIALS Elizabeth Presa

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A MATTER OF STYLE AND SHEER ENTHUSIASM Eldritch Priest

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ARTISTIC SPATIOTEMPORAL EXPERIENCES AFTER GILLES DELEUZE, ALAIN BADIOU, AND BRIAN MASSUMI: A THEORY OF BECOMING Liana Psarologaki

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INSTALLATIONS

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MAPS

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THE ORPHEUS INSTITUTE

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INDEX OF AUTHORS

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K E Y NOT E PRESE NTATIONS

Ronald Bogue University of Georgia, Athens, US

GEOMUSIC, ECOSOPHY, AND MOLECULAR OSCILLATORS The thrust of both Deleuze and Guattari’s thought on music is ecosophic, in that it treats music as a component within a process of chaosmic symbiogenesis whose aim is the deterritorialisation of the ritournelle and the creation of a new people and a new earth.

A Thousand Plateaus develops the concept of the ritournelle and its relation to milieus, territories, and cosmic lines of flight; What Is Philosophy? elaborates on those themes and ties them to the project of creating a new people and a new earth; and The Three Ecologies, Chaosmosis, and What is Ecosophy? integrate these elements within a general ethicoaesthetic paradigm. Deleuze’s 1978 IRCAM presentation on musical time (published in its manuscript form in Lettres et autres textes) precedes A Thousand Plateaus by two years, but in large part it partakes of the same trajectory of thought. Though Deleuze does not mention the “ritournelle,” he speaks of the musical mode of individuation of a “sonic landscape” inhabited by “rhythmic characters,” and of music’s coupling of an “elaborated sonic material” and “imperceptible forces that the material renders audible, perceptible.”

In a similar ecosophic vein, he refers to “molecular oscillators” in biological systems and relates them to the non-pulsed time of contemporary music, which is “a time made of heterogeneous durations whose relations rest on a molecular population, and no longer on a unifying metrical form” (Deleuze, “Le Temps Musicale,” in Lettres et autres textes).

The correlation of musical time and molecular oscillators does not appear again in Deleuze (though biological molecular oscillators are referenced briefly in A Thousand Plateau’s ritournelle plateau); nonetheless, the correlation merits detailed consideration.

The molecular oscillators Deleuze refers to are chemical clocks that regulate organisms’ circadian rhythms internally and entrain them externally with variations in daily light–dark cycles. Circadian clocks arose 2.5 billion years ago during the Great Oxidation Event (GOE) and persist across all three phylogenetic domains of Archaea, Bacteria, and Eukaryota. In humans, the suprachiasmatic nucleus (SCN) serves as the master clock, but clocks have been discovered in red blood cells and other tissues and various organs (colon, kidney) that interact with the SCN. Besides circadian clocks, oscillators have been identified at timescales of less than a day (ultradian sand circartidal) and greater (circalunar, circannual, and multi-year cycles). Although Deleuze stresses the temporal heterogeneity 16

of molecular oscillators, their fundamental characteristic is that of a periodicity entrained to georhythms.

Broadly speaking, music occurs at the interface of geo- and biorhythms, articulated through the tekhnē of parajective instruments (as opposed to projective weapons and introjective tools). Human tekhnē threatens multiple aerobic life forms emergent from the GOE through global warming, and the ecosophic response must include a transformation of the ecology of mentalities. The music of John Luther Adams (not to be confused with the John Adams of Nixon in China) may be seen as such a response, especially in his interactive site “The Place,” the site-specific performances of Inuksuit and Ten Thousand Birds, and the orchestral compositions Dark Wave and Become Ocean.

Both a Distinguished Research Professor and a Josiah Meigs Distinguished Teaching Professor, Dr. Ronald Bogue retired in 2014, continuing to conduct research as well as serve on graduate committees. His areas of research include literary theory and the comparative study of the arts.

His books include Deleuze and Guattari (Routledge, 1989), Deleuze on Literature (Routledge, 2003), Deleuze on Cinema (Routledge, 2003), Deleuze on Music, Painting, and the Arts (Routledge, 2003), and Deleuze’s Wake (SUNY Press, 2004).

Email: rbogue [AT] uga.edu

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Jan Jagodzinski University of Alberta, CA

AN AVANT-GARDE “WITHOUT AUTHORITY”: THE POSTHUMAN COSMIC ARTISAN IN THE ANTHROPOCENE This presentation develops and updates the concept of the artisan as introduced in Thousand Plateaus within the problematic of the Anthropocene that grips us all. The concept, “an avant-garde without authority,” is developed in relation to the coalescence of art, science, and technology that explores the “quantum” materiality of the inhuman (the AI of technology) and the nonhuman (the inorganic) in relation to the “future” of our species. Can the “dark” save us? jan jagodzinski is a Professor in the Department of Secondary Education, University of Alberta in Edmonton, Alberta, Canada, where he teaches visual art and media education and curricular issues as they relate to postmodern concerns of gender politics, cultural studies, and media (film and television). He is a founding member of the Caucus on Social Theory in Art Education (NAEA), past editor of the Journal of Social Theory in Art Education (JSTE), past president of SIG Media, Culture and Curriculum, Editorial Board Member for Psychoanalysis, Culture & Society (PCS) Advisory Board for Journal of Lacanian Studies (JLS), Review Board for Studies in Art Education (SAE), Journal of Curriculum Theorizing (JCT), Journal of Cultural Research in Art Education (JCRAE), Visual Culture & Gender; and Co-series editor with Mark Bracher of the book series Pedagogy, Psychoanalysis, Transformation (Palgrave Press). He is the author of The Anamorphic I/i (Duval House Publishing Inc, 1996); Postmodern Dilemmas: Outrageous Essays in Art & Art Education (Lawrence Erlbaum, 1997); Pun(k) Deconstruction: Experifigural Writings in Art & Art Education (Lawrence Erlbaum, 1997); Editor of Pedagogical Desire: Transference, Seduction and the Question of Ethics (Bergin & Garvey, 2002); Youth Fantasies: The Perverse Landscape of the Media (Palgrave, 2004); Musical Fantasies: A Lacanian Approach (Palgrave, 2005); Television and Youth: Televised Paranoia (Palgrave, 2008); The Deconstruction of the Oral Eye: Art and Its Education in an Era of Designer Capitalism (Palgrave, 2010); Arts Based Research: A Critique and Proposal (Sense Publishers, in progress), and Misreading Postmodern Antigone: Marco Bellocchio’s Devil in the Flesh (Diavolo in Corpo) (Intellect Books, in process).

Email: jan.jagodzinski [AT] ualberta.ca

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Kamini Vellodi University of Edinburgh, UK

THOUGHT BEYOND RESEARCH

This paper explores the critical implications of Deleuze’s philosophy of thought for the notion of artistic research. This paper is in two parts. The first part considers the ways in which artistic research upholds a representational image of thought. While practices of artistic research involve diverse forms, it is arguable that the image of thought that is often presumed and evaluated assumes research as a production of knowledge, inscribed within existing discourses, methodologies, and concepts, and disseminated among a community of knowing subjects.

Building upon Deleuze’s notion of thought without image, I pose as an alternative the notion of a thought-construction that affirms the element of thinking that is new, unknowable, and non-representational. I will give particular focus to Deleuze’s theorisation of the “problem,” as a means by which thought constructs itself. It is through the notion of “artistic problems” that Deleuze’s philosophy can be brought into intriguing confrontations with figures across both philosophy and art history—including Edgar Wind, Aby Warburg, Henri Bergson, Michel Foucault, and Erwin Panofsky—all of whom, in differing ways, built on the intuition that artistic/creative practices problematise rather than ask and solve questions.

In exploring some of these conceptual resonances I will attend to the question, rarely explicitly addressed, of the potentials of Deleuze’s thought for art history. The second part of the paper animates this tension between thinking and research through a series of case studies across the history of visual art to which Deleuze himself makes reference. This will raise the problem of the time of thought, and of artistic thinking in its problematic guise, as exceeding historicity—something that, I argue, has provocative potentials for the notion of artistic research as an image that the art of today has of itself.

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Kamini Vellodi is an academic with a background crossing philosophy, art history, fine art, and visual culture, and a practising artist working mainly in painting. She is Lecturer in Contemporary Art Practice and Theory at Edinburgh College of Art, University of Edinburgh, and Honorary Lecturer at Exeter University. She completed her PhD in philosophy under the supervision of Peter Osborne and Eric Alliez. Her research focuses on the critical implications of Deleuze’s philosophy for art history, with a focus on early modern visual arts, and her work has appeared in publications including Art History, Parrhesia, Zeitschrift fur Kunstgeschichte, and Deleuze Studies. She is completing a monograph on Tintoretto and Deleuze’s philosophy of constructivism titled Tintoretto’s Difference: Deleuze’s Concept of the Diagram and the Problem of Art History (Bloomsbury Academic).

Email: k.vellodi [AT] ed.ac.uk

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Hans-Jörg Rheinberger Max Planck Institute for the History of Science, Berlin, DE

ON THE BECOMING OF AN OEUVRE—ALBERT FLOCON MEETS GASTON BACHELARD Between the end of the 1940s and the late 1950s, a collaboration of a peculiar sort developed in Paris between the copper engraver of German origin Albert Flocon and Gaston Bachelard, the French philosopher of science and poetologist of imagination. The outcome of this encounter is not very well known even by experts of either Bachelard’s oeuvre or of post-war art in France. Flocon and Bachelard together created a series of art books to which the former contributed the engravings and the latter enriched with shorter or longer commentaries. These commentaries take the form of reflections about the hand of the engraver, the resistance that it experiences, and the constructive forces that it sets free. The encounter will be described through the presentation of a number of selected examples that will give an impression of the whole oeuvre. It also will shed light on the connection between the poetological and the epistemological interests of Bachelard.

The main focus of Hans-Jörg Rheinberger’s research lies in the history and epistemology of experimentation in the life sciences. By bridging the gap between the study of history and contemporary cutting-edge sciences, such as molecular biology, his work represents an example of transdisciplinarity as emerging in the present knowledge-based society. The Swiss-born scientist studied philosophy and biology in Tübingen and Berlin, Germany. He received his MA in philosophy in 1973, his PhD in biology in 1982, and his habilitation in molecular biology in 1987. He was Assistant Professor at the University of Lübeck, Germany, and Associate Professor at the University of Salzburg, Austria. Since 1997, he has been a Scientific Member of the Max Planck Society and Director at the Max Planck Institute for the History of Science in Berlin. Hans Jörg Rheinberger has been a fellow of the Institute for Advanced Study in Berlin and of the Collegium Helveticum in Zürich. He is honorary professor at the Institute for Philosophy and History of Science of the Technical University Berlin, a member of the Berlin-Brandenburg Academy of the Sciences, a member of the Leopoldina, the German Academy of Natural Scientists, and a doctor honoris causa at the Swiss Federal Institute of Technology in Zurich.

Email: rheinbg [AT] mpiwg-berlin.mpg.de

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ANNE SAUVAGNARGUES University of Paris Ouest Nanterre La Défense, FR

THE WASP AND THE ORCHID: ON MULTIPLICITIES AND BECOMOLOGY Between the first and the second versions of Deleuze’s Proust, the encounter of a wasp and an orchid in Proust’s novel À la recherche du temps perdu operates as a fragment, both literary and ethological. This fragment shows its power of fragmentation, implying the epistemological fecundity of homosexuality, as a new counter model to reproduction and imitation. Therefore, becoming, for both art and sexuality, implies a new philosophical understanding of multiplicities, as I tried to explain in Deleuze: L’Empirisime transcendantal (2010), focusing on the political turn, which was made possible by this model of queer sexuality.

Anne Sauvagnargues is Professor of Philosophy in the Department of Philosophy at the University of Paris Ouest Nanterre La Défense. A specialist in aesthetics and the philosophy of Gilles Deleuze, she co-directs the collection “Lignes d’art” with Fabienne Brugère for Presses Universitaires de France. She is the author of numerous works, including Deleuze and Art (Bloomsbury 2013), Artmachines: Deleuze, Guattari, Simondon (Edinburgh University Press 2016), and Deleuze: L’empirisme transcendental (Presses universitaires de France 2010, forthcoming with Edinburgh University Press).

Email: asauvagnargues [AT] gmail.com

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Ian buchanan University of Wollongong, AU

DELEUZE, HARAWAY, ANIMALS, AND BECOMING

In the opening section of When Species Meet, Donna Haraway writes that she had hoped to find an ally in Deleuze and Guattari, but instead found an enemy. She expected to find support for her own dark nuptials project (i.e., her companion species project) in their work because, as she puts it, their thinking “works so hard to get beyond the Great Divide between humans and other critters to find the rich multiplicities and topologies of a heterogeneously and nontelelogically connected world.” Instead she found nothing but “scorn for all that is mundane and ordinary and the profound absence of curiosity about or respect for and with actual animals.” And though she readily acknowledges that Deleuze and Guattari never intended to write a “biological treatise” about “actual animals,” she cannot get past their “scorn for the homely and the ordinary.” She goes on to say “I am not sure I can find in philosophy a clearer display of misogyny, fear of aging, incuriosity about animals, and horror of the ordinariness of the flesh.” To which I’m tempted to reply I cannot think of a clearer display of wilful misreading anywhere in contemporary philosophy! In any case, reading Haraway on Deleuze sets the stage perfectly for an interrogation of the concept of becoming and the dark nuptials that set it in motion.

Ian Buchanan joined the University of Wollongong in 2011. His previous position was Professor of Critical and Cultural Theory at the Centre for Critical and Cultural Theory at Cardiff University.

Ian Buchanan has published on a wide variety of subjects across a range of disciplines, including literary studies, cultural studies, communications studies, and philosophy. He has published on film, literature, music, space, the internet, and war as well a number of other subjects. He is the author of the Oxford Dictionary of Critical Theory and the founding editor of the international journal Deleuze Studies. He is also the editor of four book series: Deleuze Connections (EUP), Critical Connections, Plateaus (EUP), and Deleuze Encounters (Continuum).

Email: ibuchana [AT] uow.edu.au

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Bracha L. Ettinger Artist. Psychoanalyst European Graduate School, Saas-Fee, CH

MEMORY’S WOUND IS A SPACE WITH-IN ME: TO RETHINK THE CRYSTALLINE WITH THE HUMANE, TO RETHINK ABSTRACTION WITH DEPTH “If there is a modern age, it is, of course, the age of the cosmic” say Deleuze and Guattari.

“The assemblage no longer confronts the forces of chaos, it no longer uses the forces of the earth or the people to deepen itself but instead opens onto the forces of the Cosmos.”

The essential relation is no longer matter-forms but material-forces. The material is a molecularised matter that “harness[es]” forces, and the forces to be harnessed are “no longer those of the earth, which still constitute a great expressive Form, but the forces of an immaterial, nonformal, and energetic Cosmos. . . . When forces become necessarily cosmic, material becomes necessarily molecular, with enormous force operating in an infinitesimal space. . . . We thus leave behind the assemblages to enter the . . . plan of cosmicization of forces to be harnessed. . . . How does Paul Klee present this last movement, which is . . . a cosmic ‘breakaway’? And why so enormous a word, Cosmos . . . ? Klee says that one ‘tries convulsively to fly from the earth,’ and that one ‘rises above it . . . powered by centrifugal forces that triumph over gravity” (A Thousand Plateaus, 372). The artist turns his attention to crystals, molecules, atoms, and particles, not for scientific conformity, but for immanent movement. Now, different from the abstract of the beginning of the twentieth century, the challenge is to think beyond this abstraction and also beyond the division between abstraction and empathy articulated by Worringer, and attend the abstract subreal: through working toward compassion—beyond empathy—and beyond the pure abstraction that has rejected the organic and the space of depth.

In this paper I present the meeting between the translucent fore-image and traces of trauma (in my own painting) and link this to the realm of subreality. I will talk about my experience of working a dynamically formed colouring-lighting painting and why I feel that the morphed colours touch memory’s wounds both during the process and within the painting as object. Fore-images arise from ephemeral configurations of vibrating elements that are somehow sensed and even trans-sensed beyond the senses’ capacity.

Though the translucent fore-image in the mind is ephemeral and spontaneously appears and fades away, it attests to the realm of subreality where crystalinity addresses the 24

humane and the human shares in it. This means going beyond the cleavage between the crystalline and the humane and rethinking abstraction for today: with the human.

“BLACK, / like the memory-wound, / the eyes dig toward you” wrote Paul Celan (in “Schwarz / Black”). The same poet also wrote, however, “WE ALREADY LAY / deep in the underbrush, when you / finally crept along. / But we could not / darken over toward you: / there reigned / lightduress” (in “Wir lagen / We already lay”). Still humanising, always humanising—like Eurydice, the erotic antennae of the psyche is searching for a light—a sign of possibility for being-toward-life. Is it possible to work through art toward a being-toward-birth in a world that massively enjoys its own Death-drive? We can look in the pain’s eye and connect to the sorrow of the other and to the wounds of its oblivion by fragilising our own self. Beauty is one of the names of the transformation of trauma in the space opened by affective trans-sensing, when the memory of oblivion emerges and takes shape as abstract research meets the traces of trauma. In Abstraction and Empathy, Wilhelm Worringer writes that the dimension of empathy must vanish from the sphere of abstraction in the visual creation. He presents a split between empathy that concerns the human, and abstraction that concerns the inanimate. For me it was crucial to invent abstraction that relates to the human and to move from empathy toward compassion. When the abstract meets the wound’s traces in order to affect them, it is possible to think of beauty-with-sublimity and overcome the split between the human and the crystalline, at a level that I have named “subreality.” When the painting reverberates the subreal strings it transports and transmits and humanises its knowledge. The same space that carries us, rocks us, and puts us to sleep (and I paraphrase here Bachelard who speaks about water), the same space that can be a matter of despair, is also what gives us back our mother, the one who according to Celan is looking for some grains of light.

My presentation is based on two earlier papers, “The Art-and-Healing Oeuvre” (2005) and “Translucent Fore-images: Glowing through Painting” (2017).

Bracha L. Ettinger is an international artist-painter, artist-theorist, psychoanalyst, and philosopher working in oil painting, drawing, photography, notebooks and artist’s books, video art, conversations, lecture-performances, and encounter-events. Her solo shows include Silesian Museum (Muzeum Śląskie), Katowice 2017; Eurydice—Medusa at Arter in 14th Istanbul Biennial, 2015; Museum of the City of St. Petersburg (2013); Musée des Beaux-Arts d’Angers (2011); Alma Matrix (dual ex.) at Fundació Antoni Tàpies, Barcelona (2010); Freud Museum, London (2009); Finnish Academy of Fine Arts, Helsinki (2009); Kiasma, Helsinki (2006); Drawing Center, New York (2001).

Her recent exhibitions in 2017 include Colori, GAM, Turin; The Image of War, Bonnier Konsthall, Stockholm; Encounters/Ontmoetingen, MAS/KMSKA, Antwerpen; Lyric on a Battlefield, Gladstone Gallery, New York; The Haunted House / The Human Condition, National Center for Contemporary Art, Museum of Modern Art and Jewish Museum and Tolerance Center, Moscow.

Earlier exhibitions include Stedelijk Museum, Amsterdam (Kabinet, 1997); Centre G. Pompidou, Paris (Face a L’Historie, 1996, elles@pompidoucentre, 2010); Konstmuseum. Göteborgs (Aletheia, 2003); National Museum for Women in the Arts, Washington, Whitechapel, London

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(Inside the Visible, 1996).

Books dedicated to her art include And My Heart Wound-space (Istanbul Biennial, 2015); Art as Compassion: Bracha L. Ettinger (edited by Catherine de Zegher and Griselda Pollock, 2011); Le Cabinet de Bracha (edited by Patrick le Nouene, 2011).

Born in Israel in 1948, Bracha moved to Paris in 1981 and worked mainly there until 2003. She now works between Paris and Tel Aviv. She is the author of numerous articles and several books on art and psychoanalysis, aesthetics and ethics, including Regard et Espace-de-bord matrixiels (La lettre volee, 1999) / The Matrixial Borderspace (essays from 1994–1999) (University of Minnesota Press, 2006). Several books with her selected papers are soon to appear in English (Palgrave Macmillan) and in Spanish (Gedisa). She is Chair and Professor of Art and Psychoanalysis at the Division of Philosophy, Arts and Criticism.

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Jean-Marc Chouvel Institut de Recherche en Musicologie, Paris University of Paris IV-Sorbonne, FR

DELEUZE’S SYNTHESES OF TIME AND ITS AESTHETIC PROLONGATIONS: FORM, STYLE AND ACHIEVEMENT; CAN PHILOSOPHY TELL SOMETHING TO MUSICIANS? It is well known that music for a very long time has been a central subject of thought for philosophers. Even if Deleuze did not release a book specifically on music, as he did on painting or films, it is significant that one can find allusions to music or to sound in nearly all his philosophical texts. This can be related to the central place of his philosophy of time, and its close relation to the necessity of depicting mental processes leading to ideas and the creation of concepts. This necessity, and the investigation of the relation between time and mental processes, is today shared with considerations developed for both musical analysis and composition. Even if they are less evident and widespread than the influential models of rhizome, multiplicity, or the well-known opposition between ritournelle and galop, Deleuze’s propositions for a comprehensive philosophy of time have much to say to musicologists and composers, and imply a truly innovative way of thinking musical experience.

I will try to give some evidence for this strong relationship, first on the central theme of musical form, which shows that my own proposition for cognitive analysis is contemporary with the lectures in Difference and Repetition, and then by trying to get through the whole aesthetic ambitus of Deleuze’s philosophy, dealing with a truly challenging conception of style and artistic achievement.

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While he was learning composition with the most important musicians of the twentieth century, Jean-Marc Chouvel developed a theoretical approach that led him to reconsider the main notions of music writing. Taking up the contribution of phenomenology and cognitive sciences, his work on temporal forms has been published in two books: Esquisses pour une pensée musicale and Analyse musicale, sémiologie et cognition des formes temporelles. He also proposed a complete theory of the harmonic phenomena, which allowed him to explore the broad universe of micro-intervals, among other things. Since his studies in Spain with Francisco Guerrero, he has written more than thirty pieces for instruments and electroacoustics.

He participated in founding the instrumental ensemble l’Instant donné as well as the reviews Filigrane and Musimediane.

Email: jeanmarc.chouvel [AT] free.fr Web: jeanmarc.chouvel.free.fr

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Barbara Bolt University of Melbourne, AU

ELEGY TO AN OZ REPUBLIC: FIRST STEPS IN A CEREMONY OF INVOCATION TOWARDS RECONCILIATION In this paper, I focus on the appropriations of three paintings from Robert Motherwell’s series “Elegy to the Spanish Republic” (1963–75)—Five in the Afternoon, (1949), Elegy to the Spanish Republic 100 (1963–75) and Reconciliation Elegy (1978)—in order to address the question of how an artist might “borrow” from Motherwell’s images to engage in an act of reconciliation in my country, Australia, today. What is at stake in such an act?

Can one, ethically, invoke not just the name or the sentiment embodied in Motherwell’s “Elegies,” but also the forces that operate in the work?

In setting out the argument, I propose that it is necessary not only to attend to what is pictured but also to address the conditions through which these works work. I propose that, figured performatively, appropriation or citation of Motherwell’s “Elegies to a Spanish Republic” is not about re-presenting or reproducing forms, but rather is concerned with invoking the imperceptible forces beneath perception. Thus, the task of working with Motherwell’s compositions is not just technical, nor is it merely undertaken to invoke the name and history of Robert Motherwell. The act of appropriation asks that the artist doing the appropriation attend to the ghosts operating in and through the work, unleash them and allow them to come to bear upon the viewer.

Barbara Bolt is a practising artist and art theorist at the VCA University of Melbourne. She has written two monographs, Art Beyond Representation: The Performative Power of the Image (2004) and Heidegger Reframed: Interpreting Key Thinkers for the Arts (2011), and co-edited four books, Material Inventions: Applying Creative Arts Research (2014), Carnal Knowledge: Towards a “New Materialism” through the Arts (2013), Practice as Research: Approaches to Creative Arts Enquiry (2007), and Sensorium: Aesthetics, Art, Life (2007). Her publications build a strong dialogue between practice and theory. She is a board member of Studio Research and Studies in Material Thinking and Society of Artistic Research (2011–13) and is MC Observer to COST Action, New Materialisms Network.

Email: bbolt [AT] unimelb.edu.au Web: barbbolt.com

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Simon O'Sullivan Goldsmiths, University of London, UK

MYTHOPOESIS, FABULOUS IMAGES, AND MEMORIES OF A SORCERER

What we’re interested in, you see, are modes of individuation beyond those of things, persons or subjects: the individuation, say, of a time of day, of a region, a climate, a river or a wind, of an event. And maybe it’s a mistake to believe in the existence of things, persons, or subjects.

Gilles Deleuze, Negotiations

My paper will attend to what might be called “fiction as method” and, more specifically, to mythopoesis, a term I use to broadly name the “world-making” character of certain art practices and presentations. Following Gilles Deleuze I will also be concerned with the future-orientation of mythopoesis that summons forth a “people-yet-to-come”; a people appropriate and adequate, we might say, to the different worlds in question. Departing from Deleuze’s definition somewhat—though attending to some of his other writings and especially the collaboration with Guattari—I want to suggest that these “people” are not necessarily human, at least as this is habitually thought. There are other non-human forces—other becomings we might say—that are called forth by the mythopoetic function.

My paper will then turn to the writings of Félix Guattari and, specifically, the essay “Genet Regained” in which Guattari develops his own concept of “fabulous images.” The latter, found in literature and life, operate as “points of subjectification” around which other kinds of subjectivity might coalesce and cohere. Put simply, for Guattari, fiction can be a resource in the production of a different kind of subjectivity and thus, again, a different world. Guattari’s account is highly technical, involving, as it does, different levels of operation (it attempts a more analytic account of how mythopoesis might invent a people), but the general point is similar to Deleuze’s: the image function can help call forth something different from within the same.

The third and final section of my paper will turn to the collaborative writings of Deleuze and Guattari and, specifically A Thousand Plateaus. This book both utilises fiction in its particular account of a different individuation of the world, but also has its own mythopoetic 30

character (it helps call forth this other world). A Thousand Plateaus is a book that performs its content in this sense. I will end my paper by focusing on a particular section of A Thousand Plateaus, from the central Becoming plateau, “Memories of a Sorcerer,” which, it seems to me especially evidences a certain “non philosophical” character of Deleuze and Guattari’s writing: how it has a transformative traction on reality and, in particular, involves a shuttling across both philosophy and fiction.

Simon O’Sullivan is a theorist and artist working at the intersection of contemporary art practice, performance, and continental philosophy. He has published two monographs with Palgrave Macmillan, Art Encounters Deleuze and Guattari: Thought Beyond Representation (2005) and On the Production of Subjectivity: Five Diagrams of the Finite-Infinite Relation (2012), and is the editor, with Stephen Zepke, of both Deleuze, Guattari and the Production of the New (Continuum, 2008) and Deleuze and Contemporary Art (Edinburgh University Press, 2010). His collaborative art practice—with David Burrows and others—comes under the name Plastique Fantastique, a “performance fiction” that involves an investigation into aesthetics, subjectivity, the sacred, popular culture and politics produced through, performance, film and sound work, comics, text, installations and assemblages. Plastique Fantastique have performed and exhibited widely in the UK and abroad and are represented by IMT Gallery in London. O’Sullivan is currently working on a collaborative volume of writings, with Burrows, on Mythopoesis–MythScience–Mythotechnesis: Fictioning and the Posthuman in Contemporary Art. Email: s.o’sullivan [AT] gold.ac.uk Web: simonosullivan.net

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CONC ERT

ME21 COLLECTIVE

ABERRANT NUPTIALS Paulo de Assis | concept and piano Lucia D’Errico | concept, guitars, video, and sound projection Marlene Monteiro Freitas | dance Juan Parra Cancino | live electronics and sound projection

MusicExperiment21 (ME21) is an artistic research programme based at the Orpheus Institute, Ghent, funded by the European Research Council. It brings together diverse artistic, performative, epistemological, and philosophical approaches that contribute to a new experimental attitude, crucially moving from interpretation towards experimentation, a central term that is not used in relation to measurable phenomena, but rather to an “attitude,” a willingness to constantly reshape thoughts and practices, to operate new redistributions of music materials, and to afford unexpected reconfigurations of music. By integrating into performance materials that go beyond the score, ME21 is generating new modes of music performance, innovative approaches to historically received materials, and original media for the exposition of artistic research in music.

The two parts of this performance expose two different takes on experimental performance practices: Part I—Aberrant Decodings—explores the powers of divergence, proposing simulacral renderings of Baroque and Classical pieces; Part II—Rasch25: vers la nuit—stages a dialogue between music, philosophy, and imagery, shattering semiotic boundaries.

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Part I: ABERRANT DECODINGS

Lucia D’Errico | concept, composition, guitars, laptop, digital images Marlene Monteiro Freitas | dance

In the performance Aberrant Decodings the figure of the interpreter of Western notated art music is questioned and challenged in favour of an experimental attitude towards past musical woks. The performance takes place in the form of a “recital,” staging pieces by Ludwig van Beethoven, Giulio Caccini, Sigismondo d’India, Athanasius Kircher, Claudio Monteverdi, Robert Schumann, and Nicola Vicentino. Yet, instead of presenting the pieces in their original instrumental and sonic configuration, they are evoked through sounds and gestures unrecognisable as belonging to their pastness: electronics, guitars, dance. The interpreter turns into the operator, a figure that instead of replicating, reproducing, reconstructing the past, emphasises the potential in it latent for the emergence of the new.

Whereas execution and interpretation relate to an ideal and aprioristic sonic image of the musical work (as Platonic copies), Aberrant Decodings produces simulacra: performance becomes a sonic “image” that relates to what is different from it (the musical work expressed by a score) by means of difference, and not by attempting to construct a (supposed) identity. In this process, internal resemblance is negated, together with the idea of composition as origin and performance as its telos.

The physical presence of the operator on stage is double: on one end the musician, whose body exposes various degrees of involvement with sound production (from hyperphysical engagement with the instrument to evaporation into electronic sound); on the other end the dancer, whose body is traversed by the de-anatomising affective power of soundmusic.

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Part II: R A S C H 25: vers la nuit

Paulo de Assis | concept and piano Lucia D’Errico | concept, guitars, video and sound projection Juan Parra Cancino | live electronics and sound projection Marlene Monteiro Freitas | dance

Raschx is a series of mutational performances based upon two basic materials: Robert Schumann’s piano phantasies Kreisleriana, op. 16 (1838), and Roland Barthes’s essays on the music of Schumann, in particular “Rasch” (1979), a text exclusively dedicated to Kreisleriana. To these materials other components are added for every single version: pictures, videos, other texts, or further sonic elements, such as recordings or liveelectronics. Situated beyond interpretation, hermeneutics, and aesthetics, this series is part of wider research on what might be labelled experimental performance practices— practices that productively deviate from conventional (repetitive) performative strategies, and that transform familiar artistic objects into objects for thought. They generate a network of aesthetic-epistemic cross-references, through which the listener has the freedom to focus on different layers of perception: be it on the music, on the texts being projected or read, or on the images.

Rasch25: vers la nuit particularly explores the relations between recorded and performed music, between a music one listens to and a music one plays on an instrument: “They are two entirely different arts, each with its own history, sociology, aesthetics, erotics” (Barthes in “Rasch”). Listened music implies a passive mode of perception, enabling romantic dreams of artistic autonomy, while the music one plays is a muscular music, viscerally involving and requiring the beating body of the performer. This music contains something inaudible, something for which audition is not the exact mode, something that opens a wide horizon of expressions, the limits of which seem to be early-Beethoven’s quasiparlando (on one end) and Alban Berg’s cry of Marie (on the other end). “In Schumann, a whole learned labor has this sober and simple result: deterritorialize the refrain, produce a deterritotialized refrain as the final end of music, release it in the Cosmos, opening the assemblage onto a cosmic force” (Deleuze and Guattari, A Thousand Plateaus).

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Paulo de Assis is an experimental performer, pianist, and musicologist with wider interests in composition, aesthetics, and philosophy. In addition to his artistic practice, he is the author of Luigi Nono’s Wende (2006) and Domani l’aurora (2004), and the editor of Virtual Works — Actual Things (2018), Experimental Affinities in Music (2015), Sound & Score: Essays on Sound, Score and Notation (2013), and Dynamics of Constraints: Essays on Notation, Editing and Performance (2009). He is the Principal Investigator of the European Research Council project Music Experiment 21, and a Research Fellow at the Orpheus Institute, Ghent.

Email: paulo.deassis [AT] orpheusinstituut.be

Lucia D’Errico is a musician and artist researcher. She is active as a performer (guitars, multimedia performance) and she is pursuing PhD research in the docARTES Programme (Orpheus Institute Ghent, Leuven University). Part of the research project MusicExperiment21, she challenges traditional notions of interpretation in the performance of written music.

Email: lucia.derrico [AT] orpheusinstituut.be Email: lucia.derrico [AT] orpheusinstituut.be Web: luciaderrico.altervista.org

Marlene Monteiro Freitas was born in Cabo Verde where she was co-founder and member of the dance group Compass. She studied at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon). She worked with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. Her creations include Of Ivory and Flesh—Statues also Suffer (2014); Paradise—Private Collection (2012–13); (M)imosa (2011), a project developed with Trajal Harell, François Chaignaud, and Cecilia Bengolea; Guintche (2010); A Seriedade do Animal (2009–10); Uns e Outros (2008); A Improbabilidade da Certeza (2006); Larvar (2006); Primeira Impressão (2005). The common denominator of these works is openness, impurity, and intensity. She is the co-founder of P.OR.K, a structure of production based in Lisbon.

Email: geral [AT] pork.pt Web: cargocollective.com/marlenefreitas

Juan Parra Cancino is a composer, guitarist, and computer performer. Founder of the Electronic Hammer, a computer and percussion trio, and Wiregriot (voice & electronics), he collaborates regularly with Ensemble KLANG (NL) and Hermes Ensemble (BE), among many others. Parra holds a PhD from Leiden University (NL) and is a research fellow at the Orpheus Institute (Ghent, BE), focused on performance practice in computer music.

Email: juan.parra [AT] orpheusinstituut.be Web: juanparrac.com

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DIALOGUES

DIALOGUE 1: SCHIZOANALYSIS FOR ARTISTIC RESEARCH AND VICE VERSA

With Ronald Bogue, Ian Buchanan, jan jagodzinski, Bracha L. Ettinger With “schizoanalysis” Deleuze and Guattari developed a notion and a praxis that challenges and re-engineers psychoanalysis. It discloses the positivity of schizophrenic language and of schizoid processes, seeing the fundamental multiplicity of the “I” as a source of inventiveness and creativity. The “split ego” is no longer considered as a problem requiring therapy (Freud), but rather as an opportunity for new modes of affect and rhizomic interconnection. According to Eugene Holland, “schizoanalysis transforms psychoanalysis so as to include the full scope of social and historical factors in its explanations of cognition and behaviour.” Critically, schizoanalysis focuses on the concrete, material, and mechanic operation(s) of the unconscious, insisting in its creative power, rather than in its repressive/repressed function. In place of interpretation, schizoanalysis suggests infinite modes of experimentation. Instead of considering desire as determined and conditioned by the real, schizoanalysis offers diverse tools to understand how desire produces the real.

It is precisely at this triple intersection between psychic life, the production of the real, and the emergent fractality of the unconscious that schizoanalysis becomes particularly relevant and promising for artistic research. The convergence of an artist that conducts research with a researcher that makes art in one single person conveys new modes of making and theorising art, concretely demonstrating the productive powers of the divided “I.” The artist-researcher reveals her- or himself most productively not as individual, but as a dividual entity par excellence. Bringing together artist researchers and philosophers, this dialogue aims at mapping some recent developments around the notions of schizoanalysis in relation to artistic research.

Paulo de Assis

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INTRODUCTION: SCHIZOPHRENIA AND ART Deleuze’s equalisation of artists with physicians of contemporary society is not entirely unproblematic and leads to a number of questions that are worth discussing. What procedure should a physician follow in order to diagnose a disease? What terminology should she or he use? What kind of therapy should be prescribed? When and how should the therapy stop? When can we declare the patient cured?

Most of those questions are notoriously difficult to answer and Deleuze provides us with some help. His work around psychoanalysis in The Logic of Sense, where he transforms the concepts of among others Freud and Melanie Klein, might be a good starting point for the discussion. The crucial concepts developed there, such as depths, heights, physical surface, metaphysical surface, and phantasm, might allow us to say something about the procedure. The depth is the world of schizoid suffering, a world drenched in aggression and fear. According to Deleuze this is a world that should be explored by any art worth its name. The depth is overcome by depressive orientation at heights and later in pleasure and narcissism proper to the physical surface of the body and subsequently in construction of phantasms and symbols on the metaphysical surface of thought.

The relation between the depth and the metaphysical surface of thought is crucial for Deleuze and requires additional thought. In The Logic of Sense Deleuze emphasises that art in particular is able to make thought sensitive to the world of the depths. Enduring and exploring the continuous process of the destruction of the metaphysical surface and of the narcissism proper to the physical surface is crucial. Art can prepare thought for the event of its own disintegration and enrich it with schizoid experiences at the same time. Deleuze prefers artists who expose thought to such an event and, for example, clearly champions Artaud over Carroll. It is Artaud who is able to bring the crack of the metaphysical surface in contact with the destructive depths. He reveals the connection between the schizoid aggression of the depths and the destructive nature of thought. Carroll on the other hand merely exposes his readers to a superficial play of the paradoxes of sense, a play alienated from the true schizophrenic suffering and joy.

Additional questions must be asked with respect to Deleuze’s treatment of art in The Logic of Sense. What does it mean to reveal the schizoid suffering and schizoid joy in art?

How does art transform such experiences and with what goal in mind? More importantly, however, how relevant are Deleuze’s concepts for contemporary art practice? Is the distinction between schizophrenia and thought a good starting point for contemporary artists? In which sense is it useful for socially engaged artists who want to understand and transform the affects organising our societies? Additionally, did Deleuze change his understanding of art the moment he lost his interest in psychoanalytic vocabulary?

Piotrek Świątkowski

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Piotrek Świątkowski is a Lecturer at Rotterdam Business School and an independent researcher in philosophy. He is author of Deleuze and Desire: Analysis of The Logic of Sense (Leuven University Press 2015).

Email: p_swiatkowski [AT] hotmail.com

Guillaume Collett is Research Fellow in the Centre for Critical Thought, University of Kent, where he received his PhD on Deleuze’s ontology of sense. He is the author of The Psychoanalysis of Sense: Deleuze and the Lacanian School (Edinburgh UP, 2016), and co-editor of “Deleuze and Philosophical Practice,” Deleuze Studies (2013), as well as chapters and articles on and translations of French philosophy and psychoanalysis. He is working on two book projects: an edited volume on Deleuze and transdisciplinarity and a monograph provisionally titled The Semiotics of Immanence: Deleuze and Guattari’s Critique of Structuralism. He is co-editor of the journal La deleuziana.

Email: guillaume.collett [AT] hotmail.co.uk

See Keynotes by Ronald Bogue, Ian Buchanan, jan jagodzinski, and Bracha L. Ettinger for the other biographies.

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DIALOGUE 2: NEW MATERIALISM(S) FOR ARTISTIC RESEARCH

With Paulo de Assis, Barbara Bolt, Jean-Marc Chouvel, Vlad Ionescu, Simon O’Sullivan, Sjoerd van Tuinen, Kamini Vellodi.

This dialogue addresses the fundamental question of how to relate speculative thought and research activities on the arts with the concrete materiality of daily artistic practices and outcomes (artefacts). To make art involves being-in-the-world and, critically, the use of tools, materials, instruments, and supports. It is from and with all these things that new affects, new sensations, new modes of communication can be invented or extracted, contributing to a continued expansion of art practices and idioms. Artistic research (a new type of “nomadic science”) has been providing diverse practices and perspectives with strong geographical and disciplinary differences, but they all remain bound by a common reference to the grounding “materiality” of their specific activity. The materials used, produced, and discussed in artistic research are fluid entities, akin to metal alloys, less defined than stratified objects, and more affective than concepts. On the other hand, recent philosophical discourses increasingly refer to process-oriented, relational ontologies that crucially move beyond subject-centred philosophies, and beyond objectanalytical decodings. Bringing together artist researchers and philosophers, this dialogue aims at mapping some new materialist perspectives for artistic research.

Paulo de Assis

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Vlad Ionescu is postdoctoral fellow in architectural theory at the Faculty of Architecture and Arts (Hasselt University). He previously studied philosophy of art at the University of Leuven where he defended his thesis on modern art historiography, focusing on the work of Aloïs Riegl, Heinrich Wölfflin and Wilhelm Worringer. Between 2009 and 2013, he co-translated and co-edited the series Jean-François Lyotard. Writings on Contemporary Arts and Artists (Leuven University Press).

He has published on art and architectural theory in journals such as Architectural Histories, Journal of Art Historiography, Cultural Politics, A+, Esthetica, Deleuze Studies, ARS and he is the author of Applied Arts, Implied Art / Arts Appliqués, Art Impliqué (A&S books).

Email: vlad.ionescu [AT] uhasselt.be Web: uhasselt.academia.edu/VladIonescu

Sjoerd van Tuinen is currently visiting research fellow at Princeton University and teaches philosophy at Erasmus University Rotterdam. He is editor of numerous books, including Deleuze and The Fold: A Critical Reader (2010), De nieuwe Franse filosofie (2011), Speculative Art Histories (2017), Art History after Deleuze and Guattari (2017), and The Polemics of Ressentiment (forthcoming 2018), and has authored Sloterdijk: Binnenstebuiten denken (2004).

At his home university he also coordinates the Centre for Art and Philosophy (CAP) and is a cofounder of the Erasmus Institute for Public Knowledge (EIPK), where he is responsible for a project on European politics of debt and austerity.

Email: vantuinen [AT] fwb.eur.nl

See the Keynotes by Barbara Bolt, Jean-Marc Chouvel, Paulo de Assis, Simon O’Sullivan, and Kamini Vellodi for the other biographies.

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p l a te a u 1 c h a i r e d by r onald b ogue

zsuzsa baross Trent University, Peterborough, CA

THE TIME OF THE ENCOUNTER

Of the three principal modalities for the creation of the new—the dark precursor (“so is the world born” [Deleuze]), the contemporary (a counter move against the forces of the present [Baross]), and the encounter as a becoming [Deleuze])—two, we know, correspond with distinct, discontinuous and heterogeneous, temporalities. The first passes in reverse, against the progression of time; in the second, the present heterogenises itself, leaps outside the flow of chronological time to contract with different geological layers of the past. What is it that we can say with regard to the third, the time of becoming, or the multiple times/temporalities of plural becomings, when it comes to sound and music?

What new event passes in their time? Or rather, what new orders of temporal relations must necessarily be constituted between different elements for a becoming in/of sound— not to pass, for it does not pass, it does not aim at or reach an end—to take place, as it must, in time?

These are some of the questions in the context of which I will attempt to ask: what happens in and to time when sounds encounter one another (for sounds do encounter one another; have an extraordinary propensity for articulating, conjugating, reciprocal modifying, contracting, etc. with one another, which explains contemporary music’s appetite for inventing/incorporating new sounds), and how the critical categories of musical time—of Boulez, Deleuze, Manoury—may already think the difference between not just between music and painting, or sound and colour, or “brute” noise and “son bruité,” but also between music and writing.

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Zsuzsa Baross is Professor at the Cultural Studies Department, Trent University, Canada. She is the author of Posthumously: For Jacques Derrida (2011) and Encounters: Gérard Titus-Carmel, Jean-Luc Nancy, Claire Denis (2015) and has published numerous essays in anthologies and journals, including Derrida Today, Deleuze Studies, Angelaki, International Studies in Philosophy, and New Literary History. Her most recent public presentations include as plenary speaker (“La fin du monde”) at the conference In Memoriam of Jacques Derrida, Institut Français, Budapest (13–14 October 2014); the seminar “Le Cinéma selon Jean-Luc Godard” at the Collège International de Philosophie, Paris (9–14 January 2014), and at the conference “Il y a du rapport sexuel: Le corps dans l’écriture de Jean-Luc Nancy et le cinéma de Claire Denis” also at the CIPh, May 2013.

Email: Zbaross [AT] nexicom.net

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MARIANNA CHARITONIDOU University of Paris West Nanterre, FR / National Technical University of Athens, GR

MUSIC AS RESERVOIR OF THOUGHT’S MATERIALISATION: BETWEEN “METASTASIS” AND “MODULOR” How can communication occur between architecture, music, and mathematics? This presentation responds to this question taking as a starting point the use of the “Modulor” system of proportion in the composition and the notation of Iannis Xenakis’s Metastasis, who was at once a composer, architect, and mathematician and collaborated with Le Corbusier for the architectural composition of the Philips Pavilion at the 1958 World’s Fair in Brussels. Specific attention will be paid to the relationship between Xenakis’s understanding of music as thought’s materialisation and Deleuze and Guattari’s conception of art gesture as a passage of material into sensation. Xenakis’s conception of sound is spatial. For the notation of Metastasis he used graphs of glissandi, which look like ruled surfaces or hyperbolic paraboloids, described by him as “ruled surfaces of sound.”

They look like the structural components he designed for the Philips Pavilion.

Xenakis’s compositional approach is based on a relationship between music and architecture that goes beyond the metaphoric. In the composition of Metastasis the role of architecture was direct and fundamental by virtue of the Modulor, which found an application in the very essence of the musical development. Xenakis was interested in the Modulor because it is at once a geometric and an additive series. Metastasis seeks equivalence between a geometric series and an additive series. In Formalized Music: Thought and Mathematics in Composition Xenakis mentions, “It is not so much the inevitable use of mathematics that characterizes the attitude of these experiments as the overriding need to consider sound and music as a vast potential reservoir in which knowledge of the laws of thought and the structured creations of thought may find a completely new medium of materialization.”

Xenakis, Deleuze, and Guattari share the intention to associate art gesture with the zones of indetermination. Xenakis’s evaluation of musical composition is based on “the quantity of intelligence carried by the sounds” and “to make music means to express human intelligence by sonic means.” He underscores that “action, reflection, and selftransformation by the sounds themselves—is the path to follow.” He believes that “when . . . mathematical thought serves music . . . it should amalgamate dialectically with 48

intuition.” He understands the composition of music as “a fixing in sound of imagined virtualities,” dividing musical construction into two categories: a first that pertains to time and a second that is independent of temporal becomingness. The latter includes “durations and constructions (relations and operations) that refer to elements (points, distances, functions) that belong to and that can be expressed on the time axis. The temporal is then reserved to the instantaneous creation.”Deleuze underscores that in the case of Boulez’s musical composition “number has not disappeared, but has become independent of metric or chronometric relations.” My presentation examines how this freeing of the compositional process from “metric or chronometric relations” to which Deleuze refers can be related to Xenakis’s outside-time mode of composition, described

by Xenakis. Deleuze intends to grasp the process of “making sound the medium which renders time sensible, the Numbers of time perceptible, to organize material in order to capture the forces of time and render it sonorous”. He associates this kind of compositional process with Messiaen’s project and understands Boulez’s stance as a continuation of such a procedure “in new conditions (in particular, serial ones).” For Xenakis, the power of musical composition resides in the expression of intelligence through sonic means, while, for Deleuze, the deterritorialising forces of musical composition are inextricably linked to the “functions of temporalization that are exerted on sonorous material that the musician captures and renders sensible the forces of time” (Deleuze, “Boulez, Proust and Time: ‘Occupying without Counting’”). Deleuze and Guattari’s understanding of arts as an invention of material embodiment of the virtual is very close to Xenakis’s understanding of music as thought’s materialisation. Pivotal for shedding light on how arts invent “possibilities of life” is the thought that “the arts operate within the domain of sensation, which is that of the continuous passage of the virtual into the actual” and that, during the creative process of art making, “invention of possible worlds proceeds through embodiment” (Ronald Bogue, “The Art of the Possible”). My objective here is to reflect on the marriage between architecture, music, and mathematics, and on the potentialities of the zones of indeterminacy that emerge when these three domains of experience are thought together.

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Marianna Charitonidou is a PhD candidate in philosophy and history and theory of arts and architecture at the University of Paris West Nanterre and National Technical University of Athens and a member of Architectural Association in London. In 2016, she was a Visiting Scholar at Columbia University’s Graduate School of Architecture, Planning, and Preservation. She holds an MSc degree in sustainable environmental design from the Architectural Association, a postmaster degree in philosophy and history and theory of architecture from the National Technical University of Athens, and master’s degrees in architecture from the School of Architecture of Aristotle University and École Nationale Supérieure d’Architecture de Paris. She has presented her research at many international conferences (among others the 4th EAHN meeting, the 7th and 9th International Deleuze Studies Conference and the International Conference “Theory’s History, 196X–199X: Challenges in the Historiography of Architectural Knowledge”) and has published several articles, among others “L’AUA entre le Team 10 et le postmodernisme” in Une architecture de l’engagement: l’AUA 1960–1985, edited by Jean-Louis Cohen and Vanessa Grossman (Éditions La Découverte/Cité de l’architecture et du patrimoine) and “Revisiting the Historical Posture: Theoretical Debates on Comparison and Transfers” in Espaces et Sociétés.

Among her forthcoming publications is “Neorealism and Ugliness: The Aesthetic Appreciation and Appropriation of the Postwar City in the work of Aldo Rossi, Bruno Zevi and Ludovico Quaroni” in Architecture and Ugliness: Anti-Aesthetics in Postmodern Architecture, edited by Thomas Mical and Wouter Van Acker (Bloomsbury Publishing). Her research focuses on the relationship between Deleuze’s philosophy and the arts. Among her papers on Deleuze are “Gilles Deleuze and the Nondiscursive Arts: From Symptomatology to the Capture of Forces” (International Conference “Gilles Deleuze and Félix Guattari: Refrains of Freedom”), and “Neorealism between Cinema and Architecture: Looking for New Signs” (9th International Deleuze Studies Conference “Virtuality, Becoming and Life”).

Email: charitonidou [AT] aaschool.ac.uk

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jean-charles franÇois PaaLabRes, Lyon, FR

NOMADIC AND TRANSVERSE ARTISTIC PRACTICES In the spirit of Deleuze and Guattari’s complexity of knots (rhizomes) as contrasted with linear, arborescent, or binary structures, this paper proposes to reflect on today’s artistic practices that can be classified as “nomadic and transverse.”

For the authors of Mille Plateaux, concepts that are related to the ideas of nomadism and transversality tend to operate in relationships that mingle differentiation and solidarity: (a) The smooth in relation to the striated (taken from Boulez), the continuous hydraulic flow in relation to specific points of reference. (b) A minor or eccentric science proposing infinite problematical processes in relation to a royal science of definitive theorems. (c) Processes of deterritorialisation and reterritorialisation in relation to stable territories. (d) The double capture or wedding against nature between two entities having absolutely nothing to do with each other.

Additionally, the concept of transverse implies references to hybrid forms (for example graphic scores), multimedia, interdisciplinary approaches, plurality of cultures (de Certeau), and creolisation of the world (Glissant).

The nomadic and transverse artistic practices can be here defined as activities that are not definitely fixed in works of art, that imply never-ending projects and refusal to be defined by particular aesthetic labels. What is at stake is an everyday tinkering with elements and contexts, an endless travelling with no particular issues. The crucial two points of the paper are centred on the ambiguous relationships of nomadic practices with sedentary ones (see Stengers, Cosmopolitiques 7): (a) The network that continuously forms, informs, and deforms itself cannot be limited to a single focus on the production of artistic materials for the benefit of a public. The processes are no longer defined in a specific specialised space: they also are concerned with collective creation, socio-political contexts, informal/formal relationships to institutions, transmission of knowledge, various ways of interacting between humans, and between humans and machines. Curriculum design, research projects, teaching sessions, and so on become, in this context, fully-fledged artistic situations outside the exclusivity of performances onstage.

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(b)In improvisation, to produce unprepared results onstage, one has to be intensively prepared beforehand. How can timbre production be differentiated, if all the bodies of the performers are shaped in institutions to produce the same sounds? How can it be differentiated if the bodies are not shaped to do this? In collective elaborations, the real meeting of different people, of which the result should remain unpredictable, requires at the same time the presence of strong protocols, systems of constraints, or “dispositifs” (as defined by Michel Foucault) that oblige the participants to acquire some knowledge of each other’s practices, and to develop projects or objects together, mingling a respect for the diversity of their practices and the necessity to work for a collective creative result.

Jean-Charles François is a percussionist, composer, and improviser. He studied at the CNSMD in Paris. He was a freelance percussionist in Paris during the 1960s. Between 1965 and 1969, he was the co-director of the Centre de Musique, at the American Center in Paris. Between 1972 and 1990, he was a member of the music faculty at the University of California San Diego. In 1975 he founded the experimental improvisation group KIVA. He has published numerous research articles. His book Percussion et musique contemporaine was published by Editions Klincksieck (Paris) in 1991. In 1994 he obtained his doctorate at the University Paris VIII. Between 1990 and 2007 he was the director of the CEFEDEM Rhône-Alpes in Lyon. He is a member of the contemporary music ensemble Aleph, Paris, the improvisation trio PFL Traject, Lyon, and PaaLabRes Collective, Lyon.

Email: jeancharles.francois [AT] orange.fr

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Christoph Walter Pirker Graz University of Technology, AT

BECOMING LANDSCAPES: CONSTRUCTING THE HOUSE In short, the being of sensation is not the flesh but the compound of nonhuman forces of the cosmos, of man’s nonhuman becomings, and of the ambiguous house that exchanges and adjusts them, makes them whirl around like winds.

Gilles Deleuze and FĂŠlix Guattari, What Is Philosophy?

It seems remarkable that in the great cosmic movement of sensation, the mutual becoming of universe and humans, and the individuating flow of virtual singularities an almost prudish element appears, which at first cannot suggest stasis more explicitly: this is the element of the house. One could assume that the house in its solidity, determinacy, and objectivity foils all endeavours made to expand the spatial discourse towards the horizon of intensive haecceities. Why, then, should the concept of the house be considered at all, when reflections on contemporary forms of our planetary being shall be made?

Deleuze and Guattari by themselves highlight the importance of the house. They not only build on it but also let the house assume a major role in postulating that paradoxically it is the static house that allows for the universe to be essentially dynamic. The becoming of affects (the nonhuman becomings of the human) and percepts (the nonhuman landscapes of nature) are only made possible using the house, which acts as a filter, membrane, and exchange between the cosmic force fields, making them tangible and perceivable, like wind entering the open windows of a room. In this context, landscape attains a fundamental new relevance. It no longer consists of inhibited and normalised faces, which are forced on a global conception of nature by the striation of a totalitarian state apparatus. For some time, landscape, environment, and ecology find themselves as the dynamic matter of a universal war machine, whose fascistic over-formation will most likely determine the geological, atmospherical, and societal strata for centuries.

It is not by chance that for Deleuze and Guattari human and nonhuman faces are like bunkers, congealed and not-yet-fluidised mirror images of an all-encompassing dynamic of warfare.

In such a landscape we find the house as a knot within the global fabric of warfare.

The house acts as a frame wherein the ambivalence of a global multitude immediately 53

becomes manifest. Unfolding creative evolution and productive relationality—the question of how communication between two heterogeneous systems is made possible can only be made by most critically investigating this very house, bearing the plastic moment of local and global individuation.

In constructing transversally and intuitively, this lecture-performance makes present the house and its frame, showing an essential tool of artistic research. The human body will be put in fragments of the cosmos and the war machine. A continuum of sounding, dancing, and spatialising aspects creates a performative expression, which serves as a counterpoint to our immediate totalitarian landscapes, and—in deterritorialising them in-site—shows instead a landscape of fragility, suppleness, and intimacy. The performance, consisting of one performer, a piano, and a piece of artificial rock from a bunker built in the Italian Alps, draws the map of a landscape, whose form, practice, and life have yet to be encountered.

Christoph Walter Pirker (1989) is an architect, performance artist, writer, and musician. As Assistant professor at the Institute for Architecture and Landscape at the Graz University of Technology (Austria) he is unfolding contemporary landscapes, environments, and ecologies.

Currently, he is working on his PhD thesis (supervised by artist Milica Tomić) entitled “Visual ontologies of the indefinite – Scores of a new spatial construction.” His research focus lies on the development of performative approaches to spaces of warfare, politics, and ideology, the investigation of the human and the non-human in architecture, and the re-definition of the visual.

Email: christoph.pirker [AT] tugraz.at Web: studiobirkenblau.com

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Andrej Radman Delft University of Technology, NL

SUPERFOLDING: THE ACCELERATIONIST NATURE OF CULTURAL EVOLUTION The paper will argue that it is time for the discipline of architecture to awaken from the slumber of anthropocentrism and shake off the baggage of nature/nurture dichotomies. It will propose that we drop anthropomorphism for geomorphism and reconfigure ethology to become a theory of capacity. Rather than localising it in individuals, behaviour is to be treated epigenetically as a function of condividuation by way of traversing phyletic lineages and organismic boundaries. Against a Darwinian nucleocentric view of evolution as a “struggle for survival,” the paper will build on (still controversial) theories arguing that in most cases an evolutionary novelty arises because of “creative” symbiogenesis.

The virtually limitless connectivity between heterogeneous beings puts alliances before filiations, contingency before necessity, and contagion before heredity. Put succinctly, a novelty would be inconceivable were it not for aberrant nuptials.

The recent interest in the brain is not to be dismissed as neuro-reductionism, but as the locus of the most promising research trajectory that places biology and history—nature and culture—on the same footing. After all, only humans are biologically “compelled” to modify and redesign their environment in an innovative and historical manner. The (neo)Lamarckian evolution by other means exposes the vulnerability of exclusively Darwinian explanations. Passive adaptation (evo) is always already complemented by active modulation (evo-devo). While geno-reductionists insist that genes are responsible for our behaviour, it has now become undeniable that the environment itself contributes to the phenotypical expression of genes. The acquired habits may be said to be passed on after all.

The ecological school of perception founded by James Jerome Gibson was ahead of the epigenetic curve by asking not what is inside your head, but what your head is inside of.

Epi-genesis is a theory of development in which forms are influenced and modified by environmental factors. No wonder that it should appeal to architects (as quintessential niche constructionists) who could be said to sculpt brains by way of sculpting neither the genetic, nor the epigenetic, but the epiphylogenetic. The distinction urges us to rethink the long-lasting legacy of privileging episteme over tekhne. The “what” invents the “who” 55

at the same time that it is invented by it. Strictly speaking, architecture as a sedimented epigenetic mnemonic device has a higher order of “autonomy,” which makes it epiphylogenetic. If epigenetics is the concept of nongenetic heritability (such as language acquisition), then epiphylogenetic means that the rhetoric of we-build-cities-and-citiesbuild-us is to be taken not metaphorically but literally. In superfolding, synthesis is not analysis in reverse.

Andrej Radman has been teaching theory courses and design studios at TU Delft Faculty of Architecture and the Built Environment since 2004. In 2008 he was appointed Assistant Professor of Architecture. As a graduate of the Zagreb School of Architecture in Croatia, Radman received a master’s degree with honours and a doctoral degree from Delft University of Technology. His current research focuses on New Materialism in general and ecologies of architecture in particular. Radman is a production editor and member of the editorial board of the peer-reviewed architecture theory journal Footprint. He is also a licensed architect with a portfolio of built and competition-winning projects.

Email: a.radman [AT] tudelft.nl

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plateau 2 ch a i red b y j an j agodzinski

Suzie Attiwill RMIT University, Melbourne, AU

OUTSIDE INTERIOR: ?INTERIOR

An encounter between interior design and Deleuze has created ?interior—a stuttering that produces a pause between stimulus and response to open an interior in an outside.

Practising with Deleuze as an interior design academic, curator, exhibition designer, and writer, concepts of interior and interiority are challenged and transformed. Deleuze’s claim to a hatred of interiority (“Letter to a Harsh Critic”) foregrounds self-givens assumed as natural in dominant and dominating ways of thinking that inform and shape practices where interior is equated with enclosed space and interiority with an inherent subjectivity and a pre-given subject; where interior and exterior are coupled as a binary machine— as either/or. However, one also becomes sensitive to a refrain of “interior,” “interiority,” “inside” and “in” throughout his writings in relation to exterior and, more specifically, “the inside as an operation of the outside” (Deleuze, Foucault), “the Outside interior” (Deleuze and Guattari, What is Philosophy?), and “the ultimate folding of the line outside, to produce an ‘expectant interiority’” (Deleuze, “A Portrait of Foucault”).

For Deleuze (and Guattari), “the choice is between transcendence and chaos (What is Philosophy?). The choice invokes different exteriors and ways of practising—between assuming the pre-framed and already given as something to be given value and hence reproduced, and practising in the midst of forces, change, and chance to produce something new. This is the difference between making relations “to” something that is assumed as pre-existing and substantial, and making relations “in” movement. Another conceptual shift that is critical in this move to “Outside interior” is to understand relations as external to their terms as distinct from being between terms/identities, where subjects and objects are effects rather than causes. ?interior is a pickup from Deleuze. It steals and misquotes his ?-being that interrupts the dialectical relation—and hence negative implication—between being and non-being to enable being as a problematic. ?interior moves from posing interior?—a “what” question that directs one to define and answer in a categorical and universal way. In contrast, ?interior—with the question mark coming before is not even easy to say; one stammers verbally and mentally. ?interior effects a pause before the assumptions of “interior” and 58

opens it up to an outside of contingency, chance, and variation.

Preparing this paper, I have been caught in an encounter with the figure of Narcissus in Deleuze’s Difference and Repetition where he writes: “We must first contemplate something else—the water, or Diana, or the woods—in order to be filled with an image of ourselves.” An outside interior nuptial. Deleuze’s ideas of sensation, contraction, contemplation, and imagination highlight regimes of representation and recognition as secondary; in doing so, they open an opportunity—in the pause, in the middle—to intervene and experiment.

“The desert, experimentation on oneself, is our only identity, our single chance for all the combinations which inhabit us” (Deleuze and Parnet, Dialogues).

Suzie Attiwill is Associate Professor, Interior Design, and Deputy Dean of Learning and Teaching in the School of Architecture and Design, RMIT University, Melbourne, Australia. Since 1991 her practice has involved exhibition design, curatorial work, writing, and teaching. Projects pose questions of interior and interiority in relation to contemporary conditions of living, inhabitation, subjectivity, pedagogy, and praxis. Her creative practice research is conducted through a practice of designing with a curatorial inflection attending to arrangements (and rearrangements) of spatial, temporal, and material relations. Previous roles include Artistic Director, Craft Victoria; Chair, West Space Artist Led Initiative; Chair, IDEA (Interior Design/ Interior Architecture Educators Association); and Executive Editor, IDEA Journal.

Email: suzie.attiwill [AT] rmit.edu.au

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Terri Bird Monash University, Melbourne, AU

SONIC FORMS OF CAPTURE The many and varied practices of art engage in multiple processes of forming, involving conceptual, material, bodily, temporal, and spatial procedures. In What is Philosophy?

Gilles Deleuze and Félix Guattari insist, “composition is the sole definition of art,” stating “what is not composed is not a work of art.” They task artists with producing compounds of sensation that render sensory heterogeneous aggregates, or assemblages of affects and intensities extracted from forces lying at the limits of sensibility. The aim of art they describe is to render perceptible forces that lie beyond perception and to capture, in what is given, the forces that are not given.

An exploration of composition in this paper will emphasise processes of capture in the artwork of Geoff Robinson. Robinson is a visual artist based in Melbourne who utilises sound, both recorded and live, as a territorialising device. For example in Site Overlay/ Acoustic Survey (2013) he deployed field recordings, made with a directional microphone that captured specific sound events, that were played back in a relay across three sites.

The resulting acoustic overlay reterritorialised the initial audio capture as a recording in a different site where it was accompanied by a range of improvised sounds. Through this layered process of displaced recordings and introduced sounds, Robinson experimented with procedures of capture in the forming of his work.

What I am interested in is the manner by which artists engage with force relations in processes that render sensory or perceptible the imperceptible. These relations concern the capture of forces that Deleuze highlights in his writing on art, which draws on the non-substantial philosophy of individuation developed by Gilbert Simondon. Simondon regards form taking as a process or event that places an emphasis on temporal appearance rather than the constitution of an individual or a secondary presentation. Simondon’s understanding of individuation and the role of information exchange in this process will be used in this paper in the context of investigating the forming operations at play in Robinson’s artworks.

This investigation highlights the reformulation of the relationship between forces and forms that Anne Sauvagnargues elucidates in her study of Deleuze’s writing on art (2013).

This understanding of art as a capture of forces enables the work of works of art to be 60

understood as processes of differentiations producing intensive composites of fluctuating force relations. These composites of force relations open onto a world not lived or felt and it is this world Robinson aims to expose through his spatial and temporal sonic displacements.

Terri Bird is an artist primarily practising with Bianca Hester and Scott Mitchell as the collaborative group Open Spatial Workshop. OSW recently exhibited Converging in Time at MUMA, Melbourne. She is also a senior lecture in the Department of Fine Art, MADA at Monash University. Recently her essay ‘Registering Surface, Excavating Inheritances’, including a discussion of the artwork of Nicholas Mangan and Theresa Keogh, was published in Deleuze Studies 10(4) 2016. Previously she has published “More than Material” in Studies in Material Thinking and “Figuring Materiality” in Angelaki, as well as in a number of artists’ catalogues including, “This Conversation” written with Tom Nicholson.

Email: terri.bird [AT] monash.edu Web: osw.com.au

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Andrea Eckersley RMIT University, Melbourne, AU

ENCOUNTERING FASHION Encounters with fashion are among the myriad everyday practices by which the subject emerges and endures, is disrupted and becomes other than itself. This paper outlines how practices of subjectivation can occur in and through encounters with fashion. Encountering fashion is a dynamic process involving a transmission or flow between bodies that reveals qualities, relationships, properties, and experiences of the immanent world. Such transmission, to borrow terms from Deleuze, can be described as a passage from the virtual to the actual made possible through an intensification. This paper develops the distinction Deleuze makes between the actual and virtual to elaborate the intensive and affective dimensions of fashion as they are actually encountered. Experienced through our entire body, dress mediates the world we inhabit. The productive, porous relationship between dress and body opens the body up to flows and intensities that are performative in nature.

This account of the fashioned body stands in stark contrast to conventional notions of fashion, which tend to conceive of dress in terms of an extensive space around the body.

Such an understanding of the extensive space of fashion, like that of the dressmaker’s pattern for example, misses the intensive space of the body—a space with no boundaries.

Through a discussion of how garments function in the work of Australian artist Fiona Abicare, this paper argues that encounters with fashion may best be accounted for in terms of a qualitative intensity that happens through sensation, through relations with the garments. Sensation’s happening is the function of fashion and this happening directly relates to how fashion operates as a difference in intensity within an encounter with fashion. Abicare’s art practice dramatises these encounters with fashion, between bodies and garments, and the everyday subjectivation practices that these encounters sustain.

Andrea Eckersley is a Lecturer in Fashion Design at RMIT University, Melbourne. She recently completed a PhD in fine arts (painting) at Monash University. Andrea is the art editor of the Deleuze Studies journal and exhibits regularly in Australia.

Email: andrea.eckersley [AT] rmit.edu.au

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Henrik Frisk Royal college of music, Stockholm, SE

Anders Elberling Independent visual artist, photographer, innovator, instructor, and art director

MACHINIC PROPOSITIONS Machinic Propositions is an artistic project and an attempt to critically examine Deleuze and Guattari’s theorems of deterritorialisation as found in chapters seven and ten of their seminal book A Thousand Plateaus (Deleuze and Guattari 1980). The output will be an audio-visual expression with the same over-arching goal to attempt to counteract the predominance of one medium over the other. Our objective is not to integrate them, but to approach what is described as “a confidence with no possible interlocutor” (Deleuze and Parnet, Dialogues II).

Our artistic method is one where conceptual deduction and improvisation play central roles. It has grown out of our thinking about contemporary media and our attempts to critically examine both our own pro-technical approach and the hyper media landscape we live in. This method was developed on the basis of our artistic ideas, the needs of the projects we engage in, and the conditions of our respective practices. At the core of our work lies the attempt to deconstruct the relationship between sound and image. Our work process is slow and meticulous. The work on the present project began over a year ago and is likely to continue past the premiere at the DARE conference in November 2017. In other words, the actual work only materialises at the very end of a relatively long process of interaction.

There are interesting parallels between the way we work and the idea of a style as the ability to “stammer in one’s own language” (Dialogues II). In this sense our working 63

process is situated in our personal conditions giving us concrete access to both the attempt to stutter in “language” and the attempt to avoid it in “speech.” Although the work here proposed does not yet exist in its final form, it started a year ago with reading, discussions, and conceptual experiments.

The modes of synchronisation that have become central to our works will be further explored in the modes of thinking relating to the theorems introduced by Deleuze and Guattari (in particular the second theorem is of interest to the notion of synchronisation).

There are, however, many points of entry. First, the systems of de/reterritorialisation in this context we interpret as the attempt to detach both sound and image from their highly defined modes of engagement. Second, we will continue to examine what the actual relations are within our system of working, ranging from a historical view of audio/visual art to our specific conditions of working. One mode through which we will experiment with these topics, related to all theorems but particularly the first, is to change roles in the work process.

Through the theorems loosely described in chapters seven and ten of A Thousand Plateaus we will work out an abstract audio/visual work. As artists there is nothing to suggest that we are able to provide a philosophical output with scholarly relevance. The potential interest of this project for this context is instead the way our process informs our and others’ readings of Deleuze and Guattari. More specifically, the way the senses see and hear in our work may be seen to create a “zone of indeterminacy,” which may provide possibilities for understanding what we do as artists and researchers, but may also provide openings into understanding what the significance of a “generalised chromatisism” (as mentioned in the call) may develop into in other contexts as well. The conflict between the video and the audio in our work is never one that we attempt to overcome but one we strive to see precisely as the “opposite of a couple.”

Henrik Frisk (Docent/Reader) is an active performer (saxophones and laptop) of improvised and contemporary music and a composer of acoustic and computer music. With a special interest in interactivity, most of the projects he engages in explore interactivity in one way or another.

Interaction was also the main topic for his artistic PhD dissertation, “Improvisation, Computers, and Interaction,” which was presented at the Malmö Academy of Music, Lund University, in October 2008. Frisk is Associate Professor at the Royal Academy of Music. He has performed in many countries in Europe, North America, and Asia, has received commissions from many institutions, ensembles, and musicians, and has made numerous recordings.

Email: mail [AT] henrikfrisk.com

Anders Elberling, born 1965, Copenhagen, is a visual artist and photographer who teaches workshops in visuality. Elberling is a collaborative and processual crossmedia artist who due to dyslexia has developed an imaginative access to communication through the creation of narratives using picture and sound. Originally educated as a photographer, Elberling works

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with moving images and the interlink between images and sound to create installations, live performances, and scenography for theatre. His workshops in visuality inspire participants into thinking across media and genres, generating a hands-on collaborative environment.

Elberling’s work has been presented at numerous exhibitions and performances, concerts, and theatre productions in broadcasts, publications, and installations in Europe.

Email: bureau[AT] elberling.eu Web: fovoc.org

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Antonia Pont Deakin University, Melbourne, AU

LISTENING FOR A NEW BODY: THINKING CHANGE AND LEARNING REASON WITH DIFFERENCE AND REPETITION AND SPINOZA: PRACTICAL PHILOSOPHY This paper takes up the question of how a change other than “the relentless order of incremental change” might happen by examining it in relation to the notion of habit (after Ravaisson and Grosz) and the question of rhythm and temporal structuration as strategy.

Nietzsche’s distinction between leaping and dancing offers us some initial clues, as does Deleuze’s provocations in Difference and Repetition (among other writings). Working from a basis of practice-led research from the laboratory of movement/yoga asana/breathing technologies, assisted by Deleuzian articulations, it will be argued that misconceptions concerning the mechanisms of change may stem from seeking alterations or variations at the level of content. Instead, a “change of another order” primarily concerns operations and rhythms that unfold at registers subtending the regime of representation and its derivative conjurings. If music, scent, and taste, for example, have the power to overtake us, unpin us, and hurl us elsewhere—into the pure form of the future—then it is worth clarifying their capacity to interrupt rhythmic habitudes where we wander enclosed in predictable prosodies, whether at the level of language, embodiment, or thought itself.

Antonia Pont is Senior Lecturer in Writing and Literature at Deakin University. She publishes poetry, short stories, and theoretical prose.

Email: a.pont [AT] deakin.edu.au

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Jon Roffe University of New South Wales, Melbourne, AU

PRACTISING PHILOSOPHY Deleuze and Guattari’s answer to the question “what is philosophy?” is well-known: philosophy is the creation of concepts, along with its attendant plane of immanence (or image of thought) and the conceptual personae, from whose point of view the concept allows us to think. But what is largely absent from both What is Philosophy? and Deleuze’s work more generally are reflections on the character of philosophical practice for philosophers themselves. What is it like to be a philosopher, and what is the practice of creating concepts like?

The aim of this paper is to examine three moments in which the practice of philosophy appears on its own terms in Deleuze’s body of work, found respectively in Difference and Repetition, Logic of Sense, and (indeed) in What is Philosophy? I would like to argue that the picture he gives us is rather more negative than might be expected, and can be characterised by four key terms: dispossession, assembly, co-adaptation, and repetition.

Jon Roffe is Vice-Chancellor’s Postdoctoral Fellow in Philosophy at the University of New South Wales. He teaches at the Melbourne School of Continental Philosophy, and is an editor of Parrhesia: A Journal of Critical Philosophy. He is the author of Gilles Deleuze’s Empiricism and Subjectivity: A Critical Introduction and Guide (forthcoming, EUP), Badiou’s Deleuze (Acumen 2012), The Works of Gilles Deleuze (forthcoming, re.press), and the collection of aphorisms Muttering for the Sake of Stars (Surpllus 2012). He is co-author of Lacan Deleuze Badiou (EUP 2014) and co-editor of Deleuze’s Philosophical Lineage (EUP 2009), Deleuze and the Non/ Human (forthcoming, Palgrave), and Understanding Derrida (Continuum 2004).

Email: j.roffe [AT] unsw.edu.au

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Philipa Rothfield La Trobe University, Melbourne, AU

THINKING DANCE IN RELATION TO DELEUZE’S NIETZSCHE Deleuze’s treatment of Nietzsche draws upon and elaborates a number of Nietzschean concepts that construe the activity of dancing as the work of bodies and forces. Deleuze’s reading of the body as a relation between active and reactive force makes possible a typological evaluation of the action of dancing, one that distinguishes between dancing (as a form of activity) and the dancer (as a reactive formation). Although Deleuze is pretty dismissive of the subject (dancer) as a metaphysical ground (as agent), this work paves the way for a strategic approach to subjectivity. From a practice-based point of view, this approach can be discerned within postmodern dance insofar as it calls forth a form of movement beyond the self. Yvonne Rainer speaks of “recusing” the self, others of “voiding” the self, or creating a certain kind of absence within subjectivity. In the context of this paper, this might be seen as a form of “active destruction” on the part of the subject, a key element of the Nietzschean shift towards overcoming. Although dancers inevitably remain on the plane of the subject, there is a sense in which postmodern dance, and perhaps other practices further afield, tip the scales towards a more active interpretation of, and engagement with, force.

Philipa Rothfield is an honorary Senior Lecturer in philosophy at La Trobe University, Melbourne, Australia. She writes on philosophy of the body largely in relation to dance. She is interested in the work of Merleau-Ponty, Nietzsche, Klossowski, and Deleuze, to see what each of these philosophers can bring to dance and also to see what dance brings to philosophy.

Email: P.Rothfield [AT] latrobe.edu.au

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chai r e d b y ka m i ni v e l l o d i

p la t ea u 3

Lindsay Gianoukas Federal University of Rio Grande do Sul, BR

THE MINOR ACTOR: THE COMPOSING PLANE OF PERFORMATIVE BODIES Whereas Deleuze’s engagement was to follow “aberrant movements” through literature, painting, thinking, and so on, he never explored such movements in the theatre. This is probably because he did not like theatre, as he recognised himself. However, certain specific practices—such as Carmelo Bene’s minor theatre, or The Exhausted in Beckett’s work, and intensity as described by Artaud—served his thinking. My ongoing research in the field of performing arts aims to reflect the contemporary scene from the perspective of performers’ bodies. It does so by trying to track traces of a quality that I will call the minor actor, which derives from a minor author, a minor literature, a minor theatre. These are certainly not adjectives but rather operations, procedures within macro structures. The performing arts were for a long time the ground for imitation and reproduction but are increasingly moving to other forms of play that refer more to the emergence of presence instead of representation. This research brings an overview through bodies (understood also as a voice) as the matter of expression, trying to map connections and subversions that can make zones of indeterminacy emerge. “There are animal-becomings of man which do not consist in playing the dog or the cat, since man and the animal only meet on the trajectory of a common but asymmetrical deterritorialization.” Although, the art of being onstage recurs constantly to a kind of virtuosity, the technique appears as both a weapon and a trap. It is necessary to subvert the technique to make it a piece for an expressive machine.

I believe that, as in minor literature, “the problem is not that of being free but of finding a way out.” What kind of violence is necessary to bring alive the moment of “presentation,” where performers can find the way out? How could they capture the forces of an animal, as the irrefutable presence of a furious creature? More head, less face; greater instinct, less intention; more procedures, fewer characters. The minor actor is an occurrence not a subject: a zone of indiscernibility between the human and the animal; a relevance for the skin while we work over the flesh. The “actor” rescues its original meaning: one who acts, who can put in movement. The “minor” derives from a procedure that is always collective, politic, subversive, inaugural, where the critic is an operation not an opinion, 70

where we can find alliances instead of filiations. The double capture occurs in the zone of indeterminacy between the performer and his or her becoming, between the training and the fact, between the matter (the body) and the expression, between the virtuosity and the violence. The research is impelled to extend Deleuze’s work of demonstrating, capturing, and analysing aberrant movements. However, the risk of doing this takes place in a very sensitive field: performative bodies in rehearsal rooms and scenes through specific cases.

When it is possible, we track traces of a double capture, to mark an outline of performers’ ways out.

Lindsay Gianoukas (Lindsay T. Gianuca) is an actress, dancer, professor, and researcher.

Holding a master’s degree in performing arts, she is currently a PhD student at the Performing Arts Programme from the Arts Institute at the Federal University of Rio Grande do Sul (Porto Alegre, RS, Brazil). Her main works include theatre and dance plays and series for television. As a researcher, she principally investigates creation processes and practices of training. Her texts have been published as book chapters and articles in specialised magazines.

Email: lindsaygianoukas [AT] gmail.com Web: lattes.cnpq.br/3986758138608989

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Oleg Lebedev Université Catholique de Louvain, BE

ANNE TERESA DE KEERSMAEKER: AN UNBRIDLED ACTIVITY OF GOTHIC LINES Anne Teresa De Keersmaeker’s choreographies for the famous dance company Rosas are often thought to be dependent upon rigorous, abstract, and formal parameters, resonating with the meticulous interrogation of the score (frequently borrowed from musical modernism: Reich, Grisey, Bartók, Schönberg). While it is not completely untrue, this paper goes beyond mere application of mathematical rules and of Euclidian geometry to dance, and demonstrates that there is a tendency to give to danced lines a life on their own—precisely what Deleuze and Guattari named “continuous variation.” Ultimately, it is argued that De Keersmaeker’s choreographic vocabulary is inseparable from the tracing of a very special “line” that we draw upon Deleuze’s comments on Gothic art in Wilhelm Wörringer. Within this rediscovery in dance of smooth space, we shall endeavour to cast light upon very special figures that occupy it, since those figures are considered only from the viewpoint of the affections that befall them. When such a choreographic pattern comes to the fore, lines become “gothic”; that is, they never cease to change direction, always turning in on themselves, acting beneath or beyond representation, in a kind of generous anarchy where points of inflection, condensation or dispersion become inseparable from points of tears and joy, desire and anxiety, hope and freedom.

Oleg Lebedev is a teaching assistant in philosophy at the Université Catholique de Louvain (Belgium). His research interests have focused so far on cinematic realism (especially among French theoreticians and critics influenced by Bazin, such as Daney or Comolli), and on the conceptualisation of the link of politics and aesthetics proposed by Jacques Rancière. His current research pertains to the theory of subjectivity and individuation in Deleuze’s thought.

Email: oleg.lebedev [AT] uclouvain.be

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Fernando Machado Silva Lisbon University, PT

BARE YOUR SELF NAKED FOR CREATION: NOTES ON IMPERSONALITY, THE ENCOUNTER AND A BODY FOR A LIFE In works before A Thousand Plateaus (2005), such as The Logic of Sense (1990), Gilles Deleuze stresses the importance of the impersonal as the dimension one must reach to counter-effectuate the Event. Impersonal, or neutrality, is a characteristic of singularities and of the Event. Although Deleuze never relates the Event to an experience, regarding experience as an event is our answer to such a question as the becoming-imperceptible or the radical affirmation of any body as a haecceity. Impersonality is a way of allowing the becoming. However, there seems to be a misuse of the notion of becoming as a process of deconstruction or transformation, underlining or enforcing the self instead of dismantling it. Patricia MacCormack’s defence in ‘Multi-Dimensional Modifications’ (2011) of the lizard-man and the cat-man, as bodies both in-between and becoming, is such a misuse. Their attempts as well as those of body art practitioners to overcome the Self and a subjectivity through excess and extreme emphasis of turning all bodies “as aesthetic events which can experience and are experienced through zones or folds of proximity” falls on the field of mimesis and representation, as they inflate subjectivity and a fixed Self.

Turning the body into an event calls for a requestioning of an ethico-aesthetic êthos, one that seeks to free life through the creation of encounters, and a radical depersonalisation of the self. This depersonalisation or impersonality, understood as an elimination process of subjectivities and selves determined by the socius, follows Deleuze’s Bartleby’s (1993) three characteristics, plus one: a trait of expression, a zone of indeterminacy, a fraternal function, and a subjective-significative nudity. This is a fundamental dismantlement through a “leap of the will,” to achieve that composition in which we are a life in the same immanent plane as everything that composes Nature. This is an impersonality towards life and creation (close to asceticism), one could argue, that is opposed to an imposed depersonalisation of death and destruction (close to the death camps’ bare life).

Nevertheless, for a body to become the event that it is—that is, a body for a life—one must also address art’s territory. First as an encounter (an ethic-aesthetic realm), which can produce what we call the space of the Event, following the idea of taking extra-daily 73

practices and techniques into daily life. Art is too mediated/mediatic and mediates too much (perceptions and experiences). It is often a stance for the production of the monolithic Self. To release both Life and Art, affects and percepts, from their shackles, one must avoid and produce actions and situations evading the alienation and fetishism of forces and close the gap of mediation between the subject and object of experience.

Hence, we propose to rethink Hakim Bey’s Temporary Autonomous Zones (1994), as a possibility of how to deterritorialise and produce encounters in daily life. A practice of immediatism: creation happening outside Art.

Fernando Machado Silva, born Lisbon, 1979. He holds a degree in theatre studies (2004), a master’s in literature and comparative poetics (2007) from Évora University, and is soon to complete a PhD in contemporary philosophy (awaiting defence, 2017) at Lisbon University. He is a researcher for FCT and member of the Centre for Philosophy of Science of the University of Lisbon. As an actor, assistant director, and performer, he has worked with Portuguese and international directors and performers. He was a founding member of CEPiA (Centre for Performative & Artistic Studies) and has published papers on Deleuze, Derrida, experience as a means to create a new body, Nerval and Jena Romanticism, and Monsters. He has also published two books of poetry.

Email: fernandomachadosilva79 [AT] gmail.com

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Eva Richardson McCrea Independent artist and writer, Dublin, IE

A POLITICS OF SENSATION? RENDERING FORCES VISIBLE, ACTIVE, AND REACTIVE IN THE WORK OF ELIZABETH PRICE This paper seeks to address two things. First, this paper will analyze Deleuze’s definition of the work of art as “a being of sensation and nothing else.” Second, this paper will ask whether Deleuze’s theory of art can be conceived in terms of a politics of art and, if so, how? In What is Philosophy?, Deleuze and Guattari write, “The composite sensation, [art] made up of percepts and affects, deterritorializes the system of opinion that brought together dominant perceptions and affections with a natural, historical and social milieu.”

For Deleuze it is always a question of “freeing life wherever it is imprisoned,” of shattering lived perceptions and dominant opinions through blocs of sensation that exceeds the lived. In Negotiations, Deleuze states that “any creative activity has a political aspect and significance.”

As a self-positing compound of percepts and affects, the work of art as a being of sensation breaks with sensation as the effect of an object, or the feeling of a subject and redefines sensation as being qua becoming. Here Deleuze and Guattari redefine art from the position of a break with any kind of subject/object philosophy; the work of art is constituted as an exploration of zones of indetermination that go before and beyond lived experience in a process of continual becoming. To explore the implications of Deleuze’s definition of art as a being of sensation, I will return to the question of sensation as it is presented in Kant’s Critique of Pure Reason and Critique of Judgement. After a consideration of sensation in terms of common sense(s), recognition, representation, and experience in Deleuze, through Kant, I want to ask if, and how, going before and beyond lived experience and undoing this triple organisation of perceptions, affections, and opinions can be conceived in terms of a politics of art?

Regarding certain art practices Simon O’Sullivan writes, “This turn . . . away from straightforward signifying strategies and away from a certain kind of politics of art might be characterized as a turn (back) to what I would call the aesthetic potential of art . . . art is not politics in the typical—or molar and signifying—sense. It operates under a different logic.” To consider the question of a politics of sensation I will turn to The Woolworths Choir of 1979, a video work by British artist Elizabeth Price. The Woolworths Choir of 1979 75

operates both aesthetically and conceptually and engages with the social, political, and economic conditions in which it is situated. The focus here will be to address the political force that operates through a primarily affective register—what O’Sullivan might consider its “aesthetic potential.” By isolating elements of Price’s work my aim is to explore where the political force of sensation lies, and how it operates concretely in this work. In doing so I will draw on Stephan Zepke’s term “critical sensation” to consider the political potential of Price’s rendering visible of the multiple active and reactive forces at play within the ideological, institutional, and affective circuits that condition experience.

Eva Richardson McCrea is currently undertaking an MPhil in gender studies at Trinity College, Dublin (2017). She holds an MA in philosophy and critical theory from the Centre for Research in Modern European Philosophy, Kingston, London (2015) and a BA in fine art from the National College of Art and Design, Dublin (2013). Recent presentations include “Memory, History and Experience in Omer Fast and Walter Benjamin,” London Conference in Critical Thought, Birkbeck University, London (2016), and “The Work of Art is a Being of Sensation and Nothing Else,” Deleuze + Art Conference, Trinity College, Dublin, Ireland (2016).

Email: evarichardsonmccrea [AT] gmail.com

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Jonas Rutgeerts KU Leuven, BE

SYNCOPATED RHYTHMS IN THE WORK OF BURROWS AND FARGION In 2002 choreographer/dancer Jonathan Burrows and composer/musician Matteo Fargion decided to create Both Sitting Duet, a choreography where they are both equally involved. The piece marked the start of a long-lasting collaboration that has, until now, resulted in the creation of eight short duets that all “straddle the line between dance, music, performance art and comedy” (Burrows). What characterises all these pieces is that the different elements that are brought together (music, movements, scores . . .) never add up. Rather, they run parallel and keep their own heterogeneous operational logic and quality. In the pieces of Fargion and Burrows, the music and the score, the movement and the sound, the two performers and so on never really come together. As such, the performances of Burrows and Fargion don’t create a harmony—as in a Gesamtkunstwerk. Rather, both performers always search for “impossible moments to meet in the middle” (Burrows and Fargion).

Here the middle should not be understood as a middle ground, but as a no man’s land or a space of difference, a meantime (entre-temps) that makes the components “communicate through zones of indiscernibility, or undecidability” (Deleuze and Guattari, What is Philosophy?).

By looking at the notion of rhythm this presentation sets out to explore how Fargion and Burrows create these specific “meetings in the middle.” More specifically, it aims to connect the concept of rhythm that is operational in the practice of Burrows and Fargion with the notion of rhythm that Gilles Deleuze and Felix Guattari develop in A Thousand Plateaus. In this book, Deleuze and Guattari define rhythm as that which unfolds “in-between” heterogeneous milieus and ties them together. Burrows and Fargion seem to bring this conceptualisation into practice. To do this they trade a traditional “divisive” approach to composition, in which the whole is divided into standard units of measurement, for an “additive” approach, in which heterogeneous patterns are played out simultaneously to (per)form a polymetric dialogue (Davis, “‘Roots and Wires’: Polyrhythm Cyberspace and the Black Electronic”). Rather than fusing the different patterns into a unified structure, Burrows and Fargion adopt 77

a strategy of “apart-playing,” which has already been developed in African and Black Atlantian musical theory (Chernoff, African Rhythm and African Sensibility).

The rhythm that emerges through this separated playing diverts from its traditional definition. Rather than referring to a primal or natural means of communication—a “medium of communal participation” (Cowan, Technology’s Pulse: Essays on Rhythm in German Modernism)—rhythm introduces a dimension of difference. It takes on the form of syncopation: a “violent off-beat” (Davis, “‘Roots and Wires’: Polyrhythm Cyberspace and the Black Electronic”), a “moment when time falters” (Clément, Syncope: The Philosophy of Rapture), a “difference between anybody and everybody” that “makes one endlessly troubled” (Stein, Lectures in America).

By connecting rhythm to syncopation, this presentation aims not only to use Deleuze and Guattari’s conceptualisation of rhythms, but also to rearticulate it. As Steve Goodman states, Deleuze and Guattari’s definition of rhythm is compromised because it draws on Western musical sources (Messiaen, Berg). Shifting the focus from these traditional Western musical references to Black Atlantian currents of polyrhythmic music allows us to bring the concept further.

Jonas Rutgeerts is a dramaturge and performance theorist. He studied philosophy (KU Leuven) and dramaturgy (University of Amsterdam) and is currently working on a PhD entitled “Rhythm as an Artistic and Theoretical Tool in Contemporary Choreography” (KU Leuven). His research is situated at the junction between dance studies, philosophy, and cultural studies and his main interests involve temporalities of performance, social choreographies, and choreopolitics. As a dramaturge and researcher he collaborates with, among others, Ivana Müller, David Weber-Krebs, Arkadi Zaides, Needcompany, and Clément Layes. He is the author of the book Re-act: Over Re-enactment in de hedendaagse dans (Agent, 2015).

Email: jonas.rutgeerts [AT] hiw.kuleuven.be

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c ha i r e d b y ia n buc h ana n

plateau 4

Sara Baranzoni Universidad de las Artes, Guayaquil, EC

MILIEUS OF LOCALITY: THE AESTHETIC OF THE POINT OF VIEW The explosion of pervasive digital technologies and ubiquitous computing is today creating a milieu where technological mediation has reached a very subtle point. Subjects find themselves plunged into hyperconnected environments, wrapped in a cloud of data, where sensation and cognition take place in a distributed and environmental way, beyond what has always been referred to as subjectivities; now, profiled and described as a set of billions of data, they appear as segmentarised and (in)dividualised monads (Deleuze).

The world, thus understood, becomes an immanent set of algorithmically produced and refined patterns or profiles, in which people and situations become immediately and operationally “meaningful,” and where what has been called algorithmic governmentality (Berns and Rouvroy) succeed in controlling, anticipating, and modulating behaviours.

Crossed with the “smartification” of objects and environments, which are now able to operate autonomously and make choices before us, even the aesthetic experience has been in many cases transformed by the “technical management of the process of aesthetization” (Stiegler).

In front of this “catastrophe of the sensible” (Stiegler), the result is an increasing feeling of isolation, or “dividualization” (Guattari, Deleuze), and of “loss of the world” (Deleuze) as psychodiversity, noodiversity, sociodiversity, and biodiversity. What therefore happens to localities, points of view, and the multitude of individual differences when all this becomes a function, which can be (pre)defined and uniformed? How should we understand and reconsider the aesthetic relation between the life of the individual, its setting, and the outstanding intercultural society in modern “smart environments”?

The aim of this paper is to analyse, through a dialogue between Deleuze and Whitehead, whether a possibility for the individual to structure multiplicity in technologically mediated environments can still be found through the arts. This will be done following their interpretation of the “point of view” as an opening onto an infinite series of variations—the world and its virtuality, the set of all the com-possibilities—that includes the subject as mirroring those possibilities and proceeding towards the truth by organising the visible. Finally, the essential function of the arts in reaestheticising the possibility of feeling the multiplicity will be explored, in terms of an “ethics of care” of such multiplicity 80

and aesthetic possibility.

Sara Baranzoni completed her PhD in performance studies with a dissertation on Gilles Deleuze; she has been a Research Fellow at Bologna University and is currently Prometeo Researcher at the Universidad de las Artes of Guayaquil (Ecuador), where she teaches “Philosophy and Theatrical Event.� Her research interests concern contemporary French philosophy (Deleuze, Foucault, Stiegler), performance theory, and philosophy of technology. She is co-founder of the philosophical journal La Deleuziana and collaborates with many journals and networks.

Sara Baranzoni has published several essays in Italian, English, and French, and edited three collective books.

Email: sarabar [AT] gmail.com

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Guillaume Collett University of Kent, Canterbury, UK

LOGIC OF SENS/ATION: TWO CONFLICTING CONCEPTIONS OF TRANSDISCIPLINARITY IN DELEUZE AND GUATTARI Central to Deleuze and Guattari’s theorisations concerning transdisciplinarity, and key to Deleuze’s ontology, is the problem of communication across a real distinction or difference in kind. The dynamic at stake is the following: this difference cannot be negated or sublated yet there is a way to bypass it nondialectically.

In this paper I propose to tackle a sequence in Deleuze and Guattari’s oeuvre absolutely central to the problematic of aberrant nuptials introduced above: the confrontation between philosophy and art. More specifically, I will be examining two conflicting approaches to this relation in Deleuze’s, and Deleuze and Guattari’s, work and exploring the reasons for this conflict.

The first is to be found in The Logic of Sense (1969), in which Deleuze shows that art— specifically literary nonsense and humour—enables philosophy to reach an understanding of univocal being as a surface ontology comprised of a play of sense and nonsense wherein both disciplines are combined.

After meeting Guattari, Deleuze’s relation to art fundamentally changed. For Deleuze after Guattari, any framework bound to a conception of being that is in some way linguistic is not sufficiently open to the Outside (force, chance). Correlatively, art can open for philosophy a privileged route to the Outside only once it has broken free from the structuralist problematic of sense and nonsense.

With Deleuze’s Francis Bacon: The Logic of Sensation (1981), we find the anti-structuralist answer to the overly Carrollian Logic of Sense. With the term “Figure,” contrasted to the figurative, Deleuze makes it clear that he is following Lyotard who, in Discourse, Figure (1971), had argued for the irreducibility of the plastic and visual arts to the realm of language.

This irreducibility between art qua logic of sensation and philosophy qua logic of sense is formalised in Deleuze and Guattari’s What is Philosophy? (1991). Here they distinguish between the philosophical “plane of immanence”—now decidedly a non-linguistic plane (contra the “plane of reference” of logic)—and the aesthetic “plane of composition,” which is discussed primarily with reference to the plastic and visual arts (rather than literature).

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Thanks to Deleuze’s late engagement with Leibniz in The Fold: Leibniz and the Baroque (1988), Deleuze and Guattari differentiate in 1991 between the event’s actualisation in a state of affairs by a denoting proposition (logic), its counter-actualisation by philosophy, and its aesthetic realisation in “a body, a life.” The event is counter-actualised or actualised in philosophy and logic, but it is realised only in art.

As the discipline that formalises-constructs sensation, and thus the one most familiar with the real experience of the body, art most directly encounters the Outside of force and chance imprinted via sensation. Yet with Deleuze’s “Immanence: A Life” (1995), he problematises this a final time: art’s embodied and lived logic of sensation must combine with philosophy’s plane of immanence of thought to attain the absolute—immanence: a life—as both transdisciplinary and psycho-physical disjunctive synthesis.

For a bio, see Dialogue 1

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EMILIA MARRA University of Trieste, IT

PURE IMMANENCE AND THE ALGORITHMIC ERA: AN ABERRANT NUPTIAL

The era of absolute immanence has come: algorithmic governmentality has already taken every glimmer of unexpected, transforming potential human possibility into a programmed and programmatic code. The different fields of knowledge have grounds to fear that thought is imprisoned in circuits, locked in foreseeable paths: the principal reason for this dread is no doubt the rise of social and economic consequences of this process, which today are under our eyes. A political fight against this scenario, already described in Deleuze’s “Postscript on the Societies of Control,” is today a transdisciplinary request. To answer this necessity, I suggest restarting from one of the most powerful and fascinating tools offered by Deleuze and Guattari: the conceptual persona. This personage is related to literature, but thinking of it as a character does not provide us with its deepest sense.

In this presentation, I aim to show that the conceptual person is foremost an encroachment of virtuality (ideal, but nonetheless real), a special faculty of impersonal thinking that cannot be captured by Big Data. To show this, I will argue that its forefather could be found in another, sharper aspect of literature, usually described as a pact that the narrator asks his or her readers to accept. Through this agreement, the narrator is able to build a coherent plot that can, if wished, parenthesise minor elements of what we might think are necessary in our everyday life, such as moral conduct (i.e., The Man Without Qualities), the judicial system (i.e., The Merchant of Venice, Crime and Punishment), trust in technological progress (i.e., Brave New World, 1984), the everyday productive routine (i.e., La Coscienza di Zeno), and so on.

This strong mental experiment allows us to reconstruct the idea of transcendence in absolute immanence, through at least two fundamental strategies: (1) the third person’s logic; (2) the valorisation of affects and perceptions instead of concepts. After this trip somewhere else, to another time, to a different social and political order accomplished with an I that is at the same time an it, we come back with red eyes, able to look at the world from a different point of view—which, according to What is Philosophy?, is the becoming.

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Conceptual personae are precisely the line of attack suggested by Deleuze and Guattari to figure out a way to introduce the becoming in the being. As we will explain in detail, the tactic used by the two philosophers is to cross the heterotopy literature–philosophy by experimenting with concepts as concepts of affect, and affects as affects of concepts, to keep on moving, as people and as a society: as people, because our desires, thoughts, and possibilities are more than a list of numeric data; as a society, because by crossing this way it is possible to conceive of a new form of a Spinozian multiplicity that is based on affects and is uncountable.

Emilia Marra holds a master’s in Philosophies allemande et française dans l’espace européen from Europhilosophie Erasmus Mundus (UTM, UCL, BUW), and she is now a PhD student at the University of Trieste with a project on the concept of the actual infinite between Hegel and Spinoza and their contemporary French interpretations. Her research mainly investigates contemporary French Spinozism, with a special focus on the philosophy of Gilles Deleuze. She has published in journals such as Esercizi filosofici, Interpretationes, Philosophy Kitchen, and La Deleuziana, of which she is a member of the editorial board. She recently translated Pierre Macherey’s Hegel ou Spinoza.

Email: emiliamarra91 [AT] hotmail.it

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Anaïs Nony Florida State University, Tallahassee, US

MILIEUX OF DESIRE This paper proposes to reflect upon the elemental realm of desire in today’s digital societies. While most of today’s relationships are monitored by communicative platforms, the aim here is to open a debate by questioning such informational milieu to address the relational operations algorithmic structures socially pre-empt before us. At stake in the face of such platforms is the very possibility of a creative, inventive, and thus desiring approach to allowing spatio-temporal relations to emerge. In this context, and given the call for proposals on “aberrant nuptials” and the “zone of indeterminacy,” this paper will reflect the composition of issue 6 of La Deleuziana journal, which will interrogate desire in this sense. As such, it aims to engage Deleuzian notions of nomadic distributions, multiplicity, and pre-individual singularities to foster debates around the importance of desiring and desired milieu today.

Anaïs Nony, PhD, is a postdoctoral fellow at the Winthrop-King Institute in Contemporary French and Francophone Studies at Florida State University. Her current research and writing focus on the theoretical contour of digital aesthetics, video art, and philosophy of technique.

Author of several articles, book chapters, and edited volumes, her work appears in Cultural Critique, Parallax, French Review, and Africultures among other journals.

Email: anaisnony [AT] gmail.com

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Stefan Östersjö Orpheus Institute, Ghent, BE / Malmö Academy of Music, SE

Christer Lindwall Independent composer, Stockholm, SE

TOPOGRAPHY OF THE (ONE) Topography of the (One) is a composition for 11-stringed alto guitar by Swedish composer Christer Lindwall. It is a conceptually driven composition, with a vocal part for the soloist to perform, extracted from the phonological matter of philosophical texts, which are eventually recited at the close of the piece. The premiere, where the piece was staged by Swedish director Jörgen Dahlqvist and guitarist Stefan Östersjö, included the creation of an electronic music prelude, drawn from the same vocal material.

The programme note by the composer reads: Musical form, and its signification in the linguistic materiality of political economy, constitutes the fundamental building block for the “sonic text” of Topography of the (One).

The repetition of “signifiers” in the music is contrasted with a modality of non-isomorphic events. Fragments from quotations from Gilles Deleuze, François Laruelle and Gilles Châtelet create a resonance or coda on repetition and difference, on lines of flight and on the real and virtual in musical and linguistic matter. (Lindwall, Topography of the (One))

In essence, the composition can be understood as an exploration of difference and repetition, where the complexity of the detail in the score is countered by sometimes obsessive reiterations of its material. However, the nature of musical performance instigates a process in which the resemblance of individual phrases—indeed, even 87

to the extent of exact repetition of its notated values—still never becomes a repetition, and the resemblance is always incomplete: “The simulated external resemblance finds itself interiorised in the system” (Deleuze, Difference and Repetition). In an attempt to emphasise the tension between music as performed and the material identity of musical composition as a notated artefact, Topography of the (One) builds on the assumption that “difference is valid, exists and is thinkable only within a pre-existing Same which understands it as conceptual difference and determines it by means of opposition between predicates” (ibid).

Stefan Östersjö: voice, 11-string alto guitar, electronic composition and concept Jörgen Dahlqvist: concept Christer Lindwall: musical composition

Stefan Östersjö is a leading classical guitarist specialising in the performance of contemporary music. Since his debut CD (Swedish Grammy in 1997) he has released twenty CDs and toured Europe, the United States, and Asia. He has undertaken numerous collaborations with composers, and has been involved in the creation of works involving choreography, film, video, performance art, and music theatre. Since 2006 he has been developing inter-cultural artistic practices with the Vietnamese/Swedish group the Six Tones as a platform. As a soloist he has cooperated with conductors such as Lothar Zagrosek, Peter Eötvös, Pierre André Valade, Mario Venzago, and Andrew Manze.

Email: stefan.ostersjo [AT] orpheusinstituut.be Web: thesixtones.net

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Paolo Vignola Universidad de las Artes, Guayaquil, EC

EXPERIMENTING FACE TO THE ANTHROPOCENE: AN IMAGE OF THE EARTH-THOUGHT FROM A SYMPTOMATIC EARTH’S LINE This paper aims to reactivate Deleuze and Guattari’s geophilosophy, making it coherent with their perspective, in a particular and situated locus, in order to experiment with the traits of a new germinal image of thought. Such a locus comes from South American literature and the decolonialist point of view, whose strategic importance is growing in importance in relation to the Anthropocene. This singular locus is in its turn a particular locality: the equatorial line as it is described by Grado Cero, a collective book edited by Esteban Ponce Ortiz within an interdisciplinary project developed at Universidad de las Artes of Guayaquil (Ecuador), which concerns authors including Jorge Carrera Andrade, Leonardo Valencia, Édouard Glissant, Walter Mignolo, Enrique Dussel, and also Herman Melville, Edgar Allan Poe, and Jules Verne. One of the most interesting elements of such a work in relation to the DARE conference is the virtual connection with Deleuze’s reading of Melville as a pragmatist thinker engaged in the project of the invention of “a people to come,” a people composed of a community (and complicity) of imagining subjects, which in its turn should rise from a worldview as “a process and an archipelago,” like the Galapagos Islands (described in Melville, The Encantadas, to which Deleuze refers in Essays Critical and Clinical).

Following various theoretical frameworks critiquing the Eurocentric, anthropocentric, and colonial view of the Anthropocene, and intersecting it with Deleuze’s concept of becomingminor in literature and in the arts, this paper will try to connect this to a theoretical act by the equinoctial condition. Such a theoretical act could be conceived as the attempt to renew a plane of immanence towards a situated and decolonial geophilosophy.

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Paolo Vignola, PhD in philosophy, is currently a Prometeo researcher at Universidad de las Artes of Guayaquil (Ecuador), where he teaches “Philosophy of Literature.” He is a scholar of contemporary French philosophy, aesthetics, moral philosophy, and philosophy of technology.

He is a co-founder of the journal La Deleuziana and he collaborates with many journals. Vignola has published several essays in Italian, English, and French, edited five collective books, and is the author of four books: Le frecce di Nietzsche: Confrontando Deleuze e Derrida (2008), La lingua animale: Deleuze attraverso la letteratura (2011), Sulla propria pelle: La questione trascendentale tra Kant e Deleuze (2012) and L’attenzione altrove: Sintomatologie di quel che ci accade (2013). Recently he edited a special issue of Ethics & Politics dedicated to Deleuze’s political actuality (2016) and, with Sara Baranzoni, a special issue of Aut Aut dedicated to Stiegler’s philosophy of technology (2016).

Email: albengadipaolo [AT] gmail.com

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Jūratė Baranova The Lithuanian University of Educational Sciences, Vilnius, LT

A DOUBLE CAPTURE OF BODY AND LIFE: DELEUZE, BACON, SAUKA This paper draws a comparison between the experiments with a double capture of body and life made by Francis Bacon (1909–92) and contemporary Lithuanian surrealist Šarūnas Sauka (b.1958) in their pictures. This comparison starts from the Deleuzian perspective.

Deleuze was influenced by Antonin Artaud’s reflections on the body. In The Logic of Sense, Deleuze referred to Artaud’s text on the body without organs. Chapter 8 of Cinema 2: The Time-Image, “Cinema, Body and Brain,” starts with the following reflection: “Give me a body then: this is the formula of philosophical reversal. The body is no longer the obstacle that separates thought from itself, that which it has to overcome to reach thinking. It is on the contrary that which it plunges into or must plunge into, in order to reach the unthought, that is life.”

Describing Francis Bacon’s paintings, Deleuze writes about the meeting between Bacon and Artaud on the surface of the body without organs. Deleuze concludes that Bacon dismantles the organism in favour of the body, creating an “affective athleticism,” a scream-breath (Francis Bacon: The Logic of Sensation). His experiments with intersections between life and the body are also one of the main themes of Lithuanian surrealist painter Šarūnas Sauka. Sauka also paints the intensive fact of the body, experimenting with the body in various lines of flight. It is possible to encrust the jewel into different kinds of non-organic things, even in tissue, but what would it take to encrust the jewel into the organic body? The organic body encrusted with non-organic jewels on its surface becomes an animal without the distinctive features of a human face, but with animal limbs painted into the moment of copulation in the series of paintings.

Deleuze quotes Cézanne’s insight as an important point for connecting life to the arts. “Life provides many ambiguous approaches to the body without organs.” And the conclusion: “Life is frightening.” As one response to the frightening life in the arts, Deleuze describing Bacon’s pictures diagnoses hysteria as the symptomatic clinical essence of painting as art, because it is based on pure presence. Music does not have hysteria as its clinical essence, but it is confronted with galloping schizophrenia: it strips bodies of their inertia, of the materiality of the presence; it disembodies bodies. In Sauka’s paintings one can discern 92

the same inspiration as Cezanne noticed: “Life is frightening.” But the painter overcomes the possible hysteria with the forces of irony and, most importantly, self-irony. It also escapes from itself, transforming itself into an animal’s body.

As Deleuze notices, following Beckett’s Characters and Bacon’s Figures escaping from the organism, the body escapes from itself. “It escapes from itself through the open mouth, through the anus or the stomach, or through the throat, or through the circle of the washbasin, or through the point of the umbrella.”

The head separated from the body is one of the main topics in Sauka’s experimentation with a body. In his early picture Self-Portrait No. 4 (1985), the decapitated head of the artist with one eye gazes into the spectators’ eyes. Deleuze reflected upon this phenomena of split body and, following Bacon’s reflections, described it as internal and external “autoscopia,” meaning the feeling that “it is no longer my head, but I feel myself inside a head, I see and I see myself inside a head; or else I do not see myself in the mirror, but I feel myself in the body that I see, and I see myself in this naked body when I am dressed . . . and so forth” (Francis Bacon: The Logic of Sensation).

Jūratė Baranova is a Professor in the Department of Philosophy, faculty of History, at Lithuanian University of Educational Sciences. Her publications in Lithuanian include 20th Century Moral Philosophy: Conversation with Kant (2004), Philosophy and Literature: Contradictions, Parallels and Intersections (2006), Nietzsche and Postmodernism (2007), Cinema and Philosophy (with co-authors, 2013), and The Phenomenon of Jurga Ivanauskaitė: Between Surrealism and Existentialism (2014). She has also edited and published the following books in English: Between Visual and Literary Creation: Tarkovsky and Ivanauskaitė (2015), Lithuanian Philosophy: Persons and Ideas (2000), and Contemporary Philosophical Discourse in Lithuania (2005).

Recently, she co-wrote the English-language book Gilles Deleuze: Philosophy and Arts, financed by the Lithuanian Academy of Science (No. MIP-067/2014). She is a member of the Lithuanian Writers’ Union and has published the literary essays “Meditations: Texts and Images” (2004) and “The Fear to Drown” (2009).

Email: jurabara [AT] gmail.com

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Jessie Beier University of Alberta, Edmonton, CA

ECOLOGIX: TOWARDS AN ECO-LOGIC OF DISSENSUS Indeed, this is it. As warnings of anthropogenic climate change, planetary temperature ascension, and the depletion of global water sources surge in tandem with cautionary tales of continued financial crises and political stupidity, the Earth has been conflated with a human- centred world, one divided, categorised, and made disparate through all-too-human regimes of representation. In this world, we have become inflexible; we partition off the real into separate and hierarchical categories in the name of human will and desire. In this world we have destroyed and neutralised eco-logical thought; that is, we have quashed the ability to think in terms of relations in the name of common-sense consensus and accord.

The task facing us as we spin into the future is thus not one of producing further agreement and unity, but rather one of dissensus. The world of which we speak does not exist “for us,” but is, instead, an indifferent field of resonant and sympoietic machines of matter, lively and uncontainable in its becomings, connections, and assemblages. The world is not our friend, nor is it our enemy. Human beings are part of the world, yes, but the world is not human, nor is it centred upon any sort of essential “human-ness.” Such a world therefore requires thought that is adequate to the world’s intensities, what we might call, following Félix Guattari (2000), an eco-logics, or here, ECOLOGIX. ECOLOGIX is an ongoing research-creation platform that operates as a transversal process of dissident re-singularisation. The ECOLOGIX project was catalysed by an artist-in-residence position I held in 2016, which led to the development of a new research trajectory for me that was/is trying to grapple with the ways in which connections are made (or not made) between individuals and groups, theory and practice, concepts and material “reality,” and the operations of mediation that make these connections sensible, perceptible, and thinkable in the first place. The ECOLOGIX platform, as a (w)hole, is difficult to re-present, difficult to re-cognise, as it is, after all, positioned as a platform. Platforms are generic; they uphold things; bring things about; they allow things to happen, and do so modestly without drawing too much attention to themselves. Platforms are launching pads from which ideas may take off, in turn burning the platform to the ground. Thought of in this way, the ECOLOGIX platform is not a representation, or even a series of representations that 94

can be conceptualised as totalised or totalising, but instead as a launch pad to experiment with each partial locus of expression in terms of its potential vectors of subjectification, (re) singularisation, and individuation. It is these dissident vectors of potentiality that might offer a divestment from violent over-determinations—the world made for us, in our alltoo-human images of thought—in turn producing a-signifying ruptures wherein repetition itself becomes a process of creative assemblage, “forging new incorporeal objects, abstract machines, and universes of value” (Guattari The Three Ecologies).

Inspired by the conference theme and the question of how communication might occur between heterogeneous systems, this performative presentation will draw from the ECOLOGIX project in order to highlight, affirm, and (and potentially) frustrate the “zones of indeterminacy” created within artistic research in order to produce more adequate, or in Guattari’s words, eco-logical, modes of thinking. In this presentation, I will give a sense of the broader ECOLOGIX research platform, both in its conceptual and material iterations, by sharing some of the theoretical and methodological considerations that influenced the project, which will be interrupted by fragments of the various artistic interventions that “took off” from this platform.

Jessie Beier is a teacher, artist, and PhD student based in Edmonton, Alberta. Beier’s interests in both visual and sonic ecologies have led to a research-creation practice that works to think pedagogy, in its many forms, as a power for overturning cliché and dismantling common-sense habits of thinking. Beier has exhibited artistic work and presented academic research both locally and nationally, and has written for several publications including the recent (2016) edited books Sonic Thinking: A Media Philosophical Approach (Bloomsbury), What is Art Education? Essays after Deleuze and Guattari (Palgrave Macmillan), and The Precarious Future of Education: Risk and Uncertainty in Ecology, Curriculum, Learning, and Technology (Palgrave Macmillan).

Email: jlbeier [AT] ualberta.ca Website: jessiebeier.com

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Marina Kassianidou University of Colorado, Boulder, US

HOW TO KNOW: A SPACE How to Know: A Space is an artist book I wrote in 2016. For DARE 2017, I propose to present an installation with printed excerpts from the book and to perform a reading. Specifically, actual copies of the book will be displayed in the Red Room at the Orpheus Institute.

Conference participants will be able to read the text and look at the images throughout the conference. During the plateau discussion, I propose to read a ten-minute excerpt from the book and to give a short five-minute presentation contextualising the reading and summarising the ideas I discuss below.

This bilingual book (English and Greek) revolves around a fictionalised conversation between characters—human and non-human—all of whom approach the question of “how to know a space” from several points of view: architecture, civil engineering, mathematics, visual art, theatre, fiction writing, and philosophy.

The fictionalised conversation draws upon actual conversations I had with people from various fields. These discussions acted as a methodological approach for writing the text. They acted as openings and passages—ways of allowing other voices into the work.

The characters in the text may or may not correspond to actual people, combinations of people, or fictional personae.

In addition, the text draws upon other kinds of conversations: with authors whose texts I have read, with artists and artworks I have encountered, with spaces I have passed through (including the space of the book itself). Specifically, the mode of writing the book—utilising conversation as a method for both generating and organising the text—draws upon the work of Gilles Deleuze, Félix Guattari, and Bracha L. Ettinger.

While writing the book, I turned to Deleuze’s discussion of speaking with and writing with rather than for (Deleuze and Parnet, Dialogues II). Using actual conversations as the basis for writing the book, I attempt to perform this idea of writing with others. Moreover, while writing the book I treated each page as a space in itself. As such, form and content developed together. The characteristics of each page, such as its size, margins, and other restrictions imposed by printing processes, determined the placement and content of the text. In a sense, I was writing with the specificities of the book as an object.

Bracha Lichtenberg Ettinger in conversation with Craigie Horsfield observes that 96

conversation can act as “a committed ‘working-through.’” In the case of How to Know: A Space, the conversations work through the question of how to know a space in a rhizomatic way, allowing a non-hierarchical and open-ended thinking-in-process to materialise (Deleuze and Guattari, A Thousand Plateaus). By approaching the central question from different points of view, I attempted to allow resonances and differences to emerge and co-exist and to enable lines of thought and communication to arise and recede. I was interested in how these conversations could perform “the outline of a becoming”

( Deleuze and Parnet, Dialogues II).

Finally, I was interested in exploring translation as a becoming. For me, the notions of translation and intimacy are interrelated. Different forms of translation may act as ways of getting to know: at the simplest level, moving around a space—or translating yourself in a space—may enable a familiarity with that space; more literally, translating something from one “language” to another implies a certain closeness to the “original.” Thus, these notions of translation and getting-to-know involve multiple considerations of distance and closeness. The text negotiates this play of distance and proximity.

Marina Kassianidou is a visual artist working within painting, drawing, collage, installation, and art writing. She graduated from Stanford University with degrees in studio art and computer science. She obtained an MA in fine art from Central Saint Martins College of Art and Design and a PhD in fine art from Chelsea College of Arts, London, UK. She has exhibited her work in Europe, Australia, and the United States. Selected awards include a 2016 Painters and Sculptors Grant from the Joan Mitchell Foundation and fellowships at the Virginia Center for Creative Arts, Hambidge Center for Creative Arts and Sciences, and Ragdale Foundation. She is Assistant Professor in the Department of Art and Art History, University of Colorado Boulder.

Email: marina.kassianidou [AT] colorado.edu Website: marinakassianidou.com

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Niall Kennedy Kingston University, London, UK

RECONCEPTUALISING THE DELEUZIAN ARTIST: INTENTION IN ART PRACTICE This paper focuses almost entirely on Deleuze’s only book devoted to the visual arts, Francis Bacon: The Logic of Sensation. The question I set myself in the first half concerns the question that led Deleuze to the development of the concept of the “diagram”—in other words, how the artist succeeds in creating new work while existing in an environment already saturated with “old” forms, techniques, and clichés. This is the problem through which I confront the issue of the painter’s “controlling intelligence”—a vexed issue in much of Deleuze criticism. I argue, however, that existing criticism of The Logic of Sensation often misses Deleuze’s emphasis on the preparatory work that Francis Bacon (and other artists) undertook before actually beginning to paint. I argue that what I term the “will” of the artist operates both before and after the moment of “self-abandonment” that Deleuze develops in reference to the diagram. In support of this argument, I reference the passages Deleuze devoted to Bacon’s use of photographic images in the preparation of his paintings, arguing that Bacon’s use was both characteristic and habitual: in other words, that it truly represented a method.

From this starting point, I develop the relation of will and intelligence to Deleuze’s analysis of Bacon’s practice. By reconceiving and recognising the practice of painting as a process that includes initial moments of de- and reterritorialisation, the critic can fully appreciate the importance of the painter’s guiding intelligence in this process. Since the process of de- and reterritorialisation involves the painter performing an operation on him- or herself too (eliminating the clichés that exist within the painter’s head)—it is important to reconceptualise the artistic subject in Deleuze’s work as a self-developing one, and Deleuze’s artists as subject who truly have an artistic career in which their practice is systematically developed. Though space in a short paper is limited, I will touch briefly on the relation of Deleuze’s artists to broader trends in art history, arguing that they are in fact situated in and profoundly connected to broader, temporally defined movements in the history of art, with reference in particular to chapter 14 of The Logic of Sensation. Moreover, even the moment of deterritorialisation represented by the “diagram” requires the application of the artist’s control and skill to prevent the painting becoming “overloaded.”

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I thus present the concept of the diagram as a microcosm of a broader engagement of the Deleuzian artist with the forces of “chaos”—which must precisely be engaged with rather than fully embraced, and controlled as only one moment of the process. I thus present the guiding intelligence of the Deleuzian artist as an example of “limit function.”

The second half of the paper confronts the notion of style and argues that style is a key defining characteristic of the Deleuzian artist. Engaging with the work of critics such as Simon O’Sullivan and Andrea Eckersley, I argue that style exercises a unifying function over an artist’s body of work, and allows the artist to represent and reuse past material from his or her “archive.” I argue that we can understand style best as the “singularised perception” and “unitive vision” of the artist, citing Deleuze’s analysis of the work of Paul Gauguin and Vincent Van Gogh to defend the personal nature of such a style, and the importance of the personal history and experiences of the artist, and thus arguing against any critical presentation of the Deleuzian artist as merely impersonal, or a collection of artistic “effects” without any defining and unifying characteristics.

I am a recent PhD graduate (2017) from the Centre for Research in Modern European Philosophy, at Kingston University, London. My PhD thesis, supervised by Professors Peter Hallward and Eric Alliez, was titled “Deleuze and the Author.” I am currently working as an independent scholar. I have broad interdisciplinary interests in philosophy and the arts and have presented my work at conferences in the UK, Germany, and South Korea.

Email: nialldermotmichael [AT] hotmail.com

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Janae Sholtz Alvernia University, Reading, US

THE PHILOSOPHER AS A LINE: A DELEUZIAN PERSPECTIVE ON DRAWING AND THE MOBILE IMAGE OF THOUGHT What is important for Deleuze about images, whether a painting, drawing, or any other form of artwork, is not that they are visual representations, but instead that they make visible, a point inspired by the art theory of Paul Klee, to which he often refers. The question is, what is it that they make visible? To address it, I will follow a rather circuitous path, taking my own line of thought for a walk, through a rumination on the figure of the philosopher, or rather the philosopher as conceptual personae (as figure). In doing so one must also speak of the incessant glissement that Deleuze indicates between the image and the concept, which one could interpret as a relation of double-capture where art and philosophy enter into a zone of indeterminacy. A conceptual persona is an image of a philosophical system, a way of thinking, an overlaying that provides clarification to what Deleuze thinks philosophy itself is, the creation of concepts, and what he is particularly doing, providing a new image of thought. What is interesting is how he describes his own concept creation as a process of perpetual drawing and revision: je ferais beaucoup de petits dessins, de faire des schémas, alors vous vous pourrez corriger les schémas, alors vous vous pourrez corriger les schémas, ce sera épatant, vous viendrez du fond et on corrigera mes schémas. (Deleuze, Séminaire “Image Mouvement, Image Temps (02/11/1983): Le Plan”)

I argue that this description of thought, as drawing, gives us insight into Deleuze as conceptual persona—that is, what preoccupies Deleuze and characterises his layering upon layering of images in his own philosophy is the struggle to present an image of thought in motion, an image that captures thought as a spatio-temporal fluidity, and addresses the paradox of providing a concept that does not hypostasise itself—the point of a becoming predicated on aberrant nuptials: continuous variation. The necessity of the double-capture of concept and image is as follows: language as the method of expressing concepts captures thought within its wordy husks. Of course, this explains the need to move beyond mere logos towards the affectivity of the image. Bridging the space between thinking and 100

seeing is fundamentally important to this paradox, as is, I will argue, the particular mode of the visible as sketch or drawing.

The project is to develop an account of a new conceptual personae that draws sustenance from Deleuze’s theory of becoming as an aberrant nuptial between heterogeneous series. Bringing together concept and image, being and practice, human and artifice, we shall attempt to conceive philosopher as line. In Deleuze’s work, the line represents the priority of passage over stasis. The line is moving, and always escaping; it is nomadic. The pouissance of the line, its frenetic movement is retained in a certain kind of image—that of the diagram, which is made most apparent in certain kinds of images, the sketch or the drawing. Drawing becomes the proper image or form of the philosopher, and not just a drawing but the act of drawing—the philosopher becomes an activity, a line of flight. But we can go even further. The kind of drawing defines the activity and Deleuze privileges the sketch or diagram, in order to illuminate the unfinished, even incessant process of drawing—movement.

These drawings are also connected to automatic writing, as the diagram is in-formed by cosmic forces; thus, there is a living breathing relationship between Deleuzian image/ philosophy making and the immanent, material conditions from which they arise. Thus, engaging with the diagrammic image is a matter of provoking a kind of affective, palpable thought, one that eludes the traditional form of the concept—an affect-event, thought in motion. This conceptual persona is a diagram that speaks to the infinitude of virtuality itself, never one with itself, never complete, it highlights the incessant force of becoming and the continuous variation that this conference has identified as genetic outcome of aberrance and indeterminacy: “This is what we are getting at: a generalized chromaticism.

Placing elements of any nature in continuous variation is an operation that will perhaps give rise to new distinctions, but takes none as final and has none in advance (Deleuze and Guattari, A Thousand Plateaus).

Janae Sholtz is Associate Professor of Philosophy at Alvernia University, Coordinator of Women’s and Gender Studies, and Alvernia Neag Professor. She received her PhD from University of Memphis and MA from New School for Social Research. She is the author of The Invention of a People, Heidegger and Deleuze on Art and the Political (Edinburgh University Press, 2015). Her research focus is twentieth-century and contemporary continental philosophy, avant-garde art and contemporary aesthetics, social and political philosophy, and feminist theory. Her current research interests include applications of schizoanalysis to feminism, transgression and liminal thinking, immanence, ethics of the event, political ontology, and the potential of art as a form of resistance.

Email: Janae.sholtz [AT] gmail.com

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Toshiya Ueno Wako University, Tokyo, JP

FUKUSHIMA MON AMOUR: UNNATURAL NUPTIALS OR UNNATURAL PARTICIPATION IN GUATTARIAN ECOSOPHY This paper belongs to my project that grapples with comparative theoretical analysis between Félix Guattari’s ecosophy (a philosophy of ecology or virtual ecology) and postwar Japanese literature or thought. My incipient attempt deals with Japanese novel The Woman in the Dunes (1962) by Abe Kobo and the film of the same title on which he collaborated (1964). (Abe was a friend of Guattari in the 1980s, while Guattari addressed Abe’s novels in his essay.) This intertextual or transversal reading leads to another film and script, Hiroshima mon amour (1959) written by Marguerite Duras, in terms of the memory of the singular event such as a fatal love or environmental catastrophe.

The paper intends to dig through potential layers of thought that clarify and reconsider the notion of “unnatural nuptials” (or “unnatural participation”) by Deleuze and Guattari, especially as the model of uncanny coupling or strange symbiosis of (in)humans. The famous example of wasps and orchids in Deleuze and Guattari here is employed to explain not only the Body without Organs or machinic assemblages but also the alliance and contagions of uncanny love and conviviality. To think and survive after the Fukushima disaster, this paper presents a trans-local critical platform for potential discussions, for loving and coupling in intimate spheres, which definitely pertains to the ecology of mind, affect, and information.

Toshiya Ueno is a professor, critic, and TJ/DJ at the Department of Transcultural Studies, Faculty of Representational Studies, Wako University, Tokyo, and a visiting professor at the Department of East Asia Studies, McGill University, Montreal 2007–12 (winter semesters). In the 1980s he was involved with free pirate radio in Tokyo, which Felix Guattari visited and did a workshop with.

He has published numerous books in Japanese on critical theory, cultural studies, and social philosophy and is currently preparing a book on Guattari. Among his publications in English are “Guattari and Japan” in Félix Guattari in the Age of Semiocapitalism, edited by Gary Genosko (Deleuze Studies special issue 6 [2], 2012) and “Unlearning to Raver,” in The Post Subcultures Reader, edited by David Muggleton and Rupert Weinzierl (Berg, 2003).

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Peter Burleigh University of Basel, CH

PHOTOGENESIS—BROKERING WORLD From their inception, the nexus of practices that later became named photography were characterised as being the production of images “impressed by Nature’s hand.” It was a technology seemingly without want of human agency—albeit one where the earliest full proclamation of photography, published by Henry Talbot in a scurry to claim the priority of his “art of photogenic drawing” following Daguerre’s earlier announcement in January 1839, is replete with the reconstruction of human agency: a reflection back in time, documenting Talbot’s discovery of the photogenetic after the event. Precisely such afterthe-eventness fully centred in photography’s historiography gives the lie to it as a natural medium, while simultaneously being the very process of making the past present again.

It is Talbot’s claims for priority in a radically new technology that fractures the history of representation that he retraces on post hoc reflection. That is, his reconstruction of the paths to his discovery emulates the very character of the technology that leaves residues that may be traced back to an originary juncture—what I call the photogenetic event of image. This temporal singularity, actualised in a condensed spatial form (the image), is then stretched in durational trajectory as a time capsule of the past that constantly recurs in the present. The photographic in general appears to us visually as the totality of these (amassed) residues—a recording of world that accumulates after the event. This is, after all, what we see first in the immediacy of the billions of images we now produce: the optical visibility of seemingly automatised technique: mostly banal, unary, mundane. Yet, it is my argument that the photographic also renders visible something other than that which it pictures whether iconically, indexically, or symbolically. In its very make-up, the photograph does more than represent the world; it manifests the photogenetic event: it makes visible, it actualises flows of difference, bringing the world into image form. In this rendition of photography, then, the trite, calcified image is folded over the erudite image through which we learn about how such islands of meaning—each time-machine that the photograph is—stretch archipelago-like through time and space as a shifting, moving mass of sensation that is both a topography of miniature zones of intensity and a physical form of signalisation. The photographic radically shifts from an inductive technique, representing the world, to a first virtual medium intervening in making the 104

world as image.

In Towards a Philosophy of Photography (2000), Vilém Flusser suggests that authentic, magical images—a visual form of the Real—were first demystified by a regime of text tying them to explication, then to be superseded by technical images (photographs) that functioned in a radically different way: rather than replace traditional images with reproductions, technical images displace them and, rather than make hermetic texts comprehensible, they distort them by translating scientific statements and equations into states of things, i.e. images.

Technical images, then, “absorb the whole of history and form a collective memory going endlessly round in circles.” They replace a “prehistoric ritualization” that operates myths “with a new kind of magic, i.e. the programmed kind.” Flusser’s reading of the programmation of image is essentially pessimistic: a Frankfurtian gesture that commiserates the loss of the authentic track to experience in an image-to-world relation that is dependent on a mis-representation that in any case can only occur under a regime of representation. Significantly, Flusser’s circularity locks photography into a chain of signalisation that never gets outside itself, that never has an end meaning, exactly as we now experience in the proliferation of image that does not just inhabit our world but habitats it.

Where Flusser yokes the photograph to a misreading of its technical base, Deleuze latches it to a different shortcoming in his complex ontology of image: in a chameleonic bluff, he dismisses what he sees as the calcified “dreary” signifier (Deleuze and Guattari, A Thousand Plateaus) of the fixed photograph, while paradoxically celebrating an observance of the cinematographic photogram as the singular entity that sits at the base of a complex grammar in time-based media. For Deleuze, it was the beguiling movement of the cinema—its subsequent asymmetrical divisibility into the registers of telic movementimage and ontic time-image—that distracted his attention away from the photogram qua photogram. Crucially, my claim is, then, that an alluring ontological territory constituting a particularly subjective elasticity of time and an objective fixity of space, what I am calling the photogene—an actualisation of virtual multiplicities and differences that circulate in the technical diagram constituting the photogenic event—was overlooked by Deleuze, and to a great extent has been overlooked by Deleuze scholarship.

Photography is not merely the overarching technicalisation of the stream of images: a utopia gone wrong—as Flusser might argue. Nor are those images each just a singular point in a visual rendition of the already given and fixed world—as Deleuze claims. Rather, a single technical image is one of a myriad of potential forms that only emerges from a flux in a virtual domain when actualised as a unary surface image. Internal to this genetic process of becoming, the photogene as a registering of time cuts synthetically into our world to generate a medium-specific signalisation that at essence undoes our configurations of the myth of the representational image. For photographs are more than a sedimentation of image that sit on the world, referring to the world, a kind of shingle that lays on top, a map. Rather, as real enfoldings of the virtual and actual, they are territories 105

that activate an intensity of affects in the subject that are micro-becomings or imageforms of the plasticity of time realised as space. Thus, the photogene is both an external, technological concretisation of temporal and spatial dimensions, and an emergence of our coming into being—subjectification—through a particular modality of signalisation.

Thus, laying photography open to the virtual, to multiplicity, to a rhizomatic nature, allows a thinking of the affective in photogenetic zones of intensity, engages with temporal dislodgment, and determines the event of photogenesis, the photogenetic moment as differentiation actualised. And it can go further than that: by taking photography as a model of genetic signalisation rather than representation, it is possible to indeed think photographically in modes and media that in their actual specificity are non-photographic, but in their virtual practices fold adjacent to the diagram of photography. This extension from a critique of classical photographic theory to an eradication of a specific, subjectcentred, willed human agency in artistic practice is one form of posthuman discourse that recuperates Deleuze and Guattari’s notion of affects and percepts independent of a human subject at play in the “being of the sensible.” Finally, then, plateaus of the circulation of sensation that render photogenic, performance and built worlds uncannily incommensurate will be explored in this paper by considering a triangulation of the physical text/sculptural performance work of Sophie Jung, the viral/virtual/actual assemblages of Andreas Angelidakis, and the conceptual photogenetic moment.

Peter Burleigh teaches English culture, language, and linguistics at the University of Basel, and critical and aesthetic theory at the HGK, Basel. His interests lie in the theories and histories of photography, and forms of visual representation. He is currently working on a post-Deleuzian framing of photography: while exploiting Deleuze’s conceptual toolbox, he attempts to undo Deleuze’s scepticism towards photography, in particular thinking how the graphic paradigm can be replaced by genesis. His most recent essay appears in the European Month of Photography 2014 catalogue.

Email: p.burleigh [AT] unibas.ch

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Zornitsa Dimitrova Independent scholar, DE

“A LIFE AS AN OPEN LANDSCAPE”: SYSTEMS OF CO-DETERMINATION IN THREE ROBOTIC SHOWS Combining A. Naess’s vision of “ecospheric belonging” and Guattari’s concept of an “ecosophy” as a science set “to create new systems of valorisaion, a new taste for life . . . ,” this paper looks at a string of robotic shows by SRL from the late 1970s. These shows uniformly address the possibility of relating to an environment and the question of artefactual autonomy but at the same time critique these very same notions. Whereas they spell out the very problem of being “alive” and constituting an “organism,” they also attest to a certain level of participation that reveals a radical exposure to a world’s ontological vulnerability. The robotic performances remain indifferent to any rhetoric that engages in the imposition of levels of being. We have not so much alliances of beings different “in nature” but an incessant exercise in co-determinative practices. The robotic shows put on display infra-subjective ways of co-alignment between heterogeneous systems in inviting us to think of the possibility of an eco-philosophical body across the continuum of what is nominally known as the “living” and the “non-living.” Within this scenario, it is no longer the organism that determines the formation of a biome but the responsive potential of a given entity (or non-entity).

The conceptual core of this argument encompasses (1) a shift from ontological scenarios that favour actuality to ones favouring ontologies of the virtual, and (2) a shift from forms of artistic production designated as “artwork” toward forms that are “onto-ecological”— that is, amalgams of philosophical, political, and ontological features that carry within themselves an ethics of sustainability. The “ecology of the virtual” speaks to an infra-bodily and infra-human level of analysis that operates across individuals nominally present as “human” and “artefactual.” In being so, it accounts for pre-personal ways of partaking in a world. Here Guattari puts forward an ontological proposition to bring forth reformed notions of ethics, aesthetics, and politics that ultimately fuse into a concept of an artwork as an ecological space of radical exposure. Robotic performance puts on display exactly one such space that allows us to begin refiguring the concept of “artefact” positively and inclusively. Here an “ecology of the virtual” works as a responsive system that reverses the distinctions (in degrees of being) made within an already constituted world and prompts 107

us to think “between natures.” The concept allows us to reach toward an ontological region that can be perceived as matter-forming, allowing for a co-habitation of nominally incongruent worlds.

Within this shift, what we habitually call “an artefact” and “a human” undergoes dispersal.

Hereby the possibility of positing an entity or a non-entity is thought in terms of a radical attunement. Bodies are conceptualised in terms of their capacities to generate codeterminative responsive systems that do not seek to bypass their constitutive ecological vulnerability. The ecology and aesthetics of the virtual similarly speak to a level of analysis that operates across beings to evoke infra-individual ways. Here Guattari’s ecosophy prompts us to turn to the generative force of the arts to envision modes of being and nonbeing maximally open toward the virtual as a region of ongoing ontological constitution.

Zornitsa Dimitrova is a doctoral graduate of the University of Münster and holds degrees in Indology, philosophy, and English literature from the universities of Sofia and Freiburg. Her dissertation, “Expression as Mimesis and Event,” sketched out an emergentist dramatic theory governed by interweaving ontologies of immanence and transcendence. She is the author of Literary Worlds and Deleuze (2016); her work on theatre has appeared in Deleuze Studies, New Theatre Quarterly, JDTC, and Skenè.

Email: zornitsa_dimitrova [AT] yahoo.com

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Spencer Roberts University of Huddersfield, UK

MINING THE AESTHETICO-CONCEPTUAL: DELEUZE, DERRIDA, AND ARTISTIC RESEARCH Despite their many political and philosophical allegiances, Deleuze and Derrida might— in accordance with Deleuze and Parnet’s dictum—be best described as the opposite of a couple. While their mutual hostility towards conceptual stasis, overly linear approaches to temporality and excessively centred notions of subjectivity targeted a number of common philosophical opponents, this apparent unity of purpose arose out of some seemingly incommensurable tensions: Deleuze’s mode of ontological enquiry squared poorly with Derrida’s rejection of metaphysics; Deleuze’s positive engagement with the sciences, and his prioritisation of material-sensation sat awkwardly with Derrida’s more pervasively textual and somewhat idealist orientation; and Deleuze’s development of an impersonal concept of Husserlian expression served to check Derrida’s rather more stringent and single minded rejection of phenomenological presentism.

It is important to remember, however, that like Derrida, Deleuze was predominately a writer—albeit a writer with an at once affective, performative, and corporeal agenda.

Indeed, when taken at face value, it would seem to have been Derrida who more directly explored the graphic potentialities of experimental writing. Deleuze’s emphasis upon performativity, emergence, and onto-genetic construction nevertheless serves to extend and supplement the Derridian account of textuality by exposing its neglect of the process of writing. In so doing it foregrounds the potential for Deleuzo-Derridian philosophy to instantiate a genuinely aesthetico-conceptual image of thought.

For the 2017 conference, I would like to propose a machinic-writing-event, along with a related scholarly presentation that will collectively address the somewhat tensile relationship between Deleuzian and Derridian philosophy in the context of a discussion of the practice of writing. The paper will explore this territory in a broadly traditional academic fashion, and it will be delivered at one of one of the conference panels. Elsewhere, in one of the installation spaces, a pair of computer-controlled writing machines (x–y penplotters interfaced with Processing and Arduino) will mine the multiple drafts of the paper, exploring the material, performative, and durational aspects of its composition— foregrounding, and in some sense reactivating, the vectors of its textual becoming.

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Before the conference, in the months of April and May, the draft materials for the paperin-progress will be archived daily, providing a series of documents that can serve as a data source for the machines that will be installed at the event. Through a process of writing and over-writing, the plotters will dwell upon randomly selected passages and explore their development over time—revealing the emergence and development of ideas, as well as deletions, redactions, and changes of mind. A series of contact microphones attached to the plotting mechanism will provide a percussive accompaniment to the development of each machinic palimpsest.

The plotters will be “tuned,” respectively, to either a Derridian or a Deleuzian lexicon, and this will influence their mining of the text. The work is intended to instantiate a zone of indeterminacy—celebrating the sonic, textual, and ideational couplings that emerge from this material collision of texts.

Spencer Roberts is a Senior Lecturer in the Department of Art, Design and Architecture at the University of Huddersfield. He teaches art, design, and animation theory alongside a general departmental lecture programme exploring the application of Deleuzian thought in the visual arts. His doctoral thesis examined a number of process-philosophical perspectives on artistic research.

Email: s.roberts [AT] hud.ac.uk Web: research.hud.ac.uk/ourstaff/profile/index.php?staffid=756

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George Themistokleous Leeds School of Architecture, UK

DIVERGING DOUBLES: BETWEEN THE SENSING BODY AND ITS PROJECTED IMAGE With the proliferation of electronic media, Gilles Deleuze’s conception of time-image is extended to various media platforms that lie outside the cinematic discourse. By moving beyond the cinematic confinements that physically distance the bodily viewer from the image, digital media, including augmented reality technologies, have allowed for changing interactive relations in the perception of the moving-image, thus creating a shift in our thinking of time and space. The creative possibilities of these electronic media, including for example computer simulation and virtual reality, are reflected in an array of diverse practices. While new digital media are rapidly developing, the thinking that they generate is, as is often the case with the emergence of new media, in the process of becoming. Timothy Murray, in his essay “Time@Cinema’s Future: New Media Art and the Thought of Temporality” (2010), will presciently note how the new media community, through art projects, engages with “Deleuze’s charge that it receive and respond to the virtual as an energetic field of what has [yet to be thought] or registered.” In this paper the changing status of the time-image after the advent of the digital will be explored. This line of enquiry will be further developed through the diplorasis, a media installation of my own making that incorporates digital image processing technologies.

The diplorasis is a multi-media installation/device. The viewer who enters the installation space will position his or her head inside the wall cavity, located at the far end of corridor.

When looking through the peepholes, the viewer will encounter a stereoscopic projection of him- or herself from previous instances inside the corridor space of the installation.

The stereoscopic images will then be replaced with another view of the participant, as the images change they become increasingly misaligned and manipulated. When viewing the projected images, the participant becomes aware that his or her image was captured in previous instances when walking along the corridor—that is, literally the space behind the viewer’s back. The photographic cameras within the device that are attached to sensors have been programmed to capture different views of the moving participant, and then to digitally split (and in some cases manipulate) the images before sending them to the LCD screens that project the image back to the participant. The installation uses various 111

software and hardware processes (digital cameras, controlled motors, LCD screens, Arduino and Raspberry Pi computer chips, motion sensors) in relation to the Wheatstone stereoscopic framework. The device deviates from the Wheatstone stereoscope because it attempts to incorporate live feed of the viewer’s own body from previous instances in the installation space. The uncanny closeness of a neutral image “out there” evoked by the original stereoscopes is now subverted as the digitalisation allows for the unexpected self-projection; the device becomes an auto-scopic machine.

The reduplicated and projected self in the diplorasis, three-dimensionally simulated, begins to trigger the questioning of the understanding of the self within visual media.

Throughout the duration of the visual experience, one has a solipsistic perception of oneself. The participant views him- or herself from without while becoming aware of the stereoscopic operation. Thus, the out-of-body experience of observing oneself from multiple points of view of another (the way you would always see someone else, but not oneself) is somehow paradoxically induced via the very embodied operation of the binocular eyes. Within the diplorasis it becomes possible to juxtapose particular conceptual and practical understandings of the cinematic with digital media. The diplorasis tries to critically explore a paradoxical split relationship between a cognitive self and self as image.

In the Deleuzian articulation of the cinema, the time-image is essentially a becoming of a non-image, or it is an image in thought that nonetheless can only be conceived, retrospectively, through the image. What the time-image makes possible is a conception of what lies beyond thought, the unthought that potentially becomes actualised as thought. If the time-image is a necessary prompt that cinematic media made possible for the uncovering of an image of time in thought, then what happens when the bodily schema attempts to more actively incorporate this image of time? Here the metacinematic perception of the world allows us to integrate the understanding of time that was achieved through Deleuze’s concept of the cinema, and was made possible by its distance from bodily perception, to return to the body.

This paper explores how Deleuzian cinema might be appropriated by other media forms (something that Deleuze already hinted at with his reference to a meta-cinema) through the making and thinking of a new assemblage of images in the electronic age. The relation between heterogeneous images from cinema and digital processes reproduces a dissonance between the divided experiences of these diverging media. The irrational rupture between the feeling of one’s bodily perception and the impossibility of controlling its projected image becomes the locus of exploration within the diplorasis.

Diplorasis becomes a site where the diverging embodied and informational zones interact in a non-deterministic way. The artistic research here incorporates diverging machinic and bodily visions. Through the praxis of the installation, a paradoxical image is induced, one that can only be articulated retrospectively after the event. The heterogeneous systems of embodiment and information re-produce “zones of indeterminacy.”

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George is an architect and a Lecturer in architectural design and history and theory at the Leeds School of Architecture, he has studied architecture and art history (University of Toronto, University of Brighton). His doctoral research considers the limitations of current architectural representational methods in relation to a rethinking of bodily and machinic vision, through custom made optical devices and multimedia installations. He is co-editor (with Teresa Stoppani and Giorgio Ponzo) of the book This Thing Called Theory (Routledge).

Email: george-them [AT] hotmail.com

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Audronė Žukauskaitė Lithuanian Culture Research Institute, Vilnius, LT

INTERSPECIES SONIFICATION: DELEUZE, RUYER, AND BIOART In A Thousand Plateaus Deleuze and Guattari famously argued that becoming is a nonlinear connection between heterogeneous elements. As they point out, “we oppose epidemic to filiation, contagion to heredity, peopling by contagion to sexual reproduction. . . . Bands, human and animal, proliferate by contagion, epidemics, battlefields, and catastrophes. . . . Unnatural participations or nuptials are the true Nature spanning the kingdoms of nature. . . . These combinations are neither genetic nor structural; they are interkingdoms, unnatural participations.” Deleuze and Guattari create a methodological ground for these kinds of “unnatural participations” by invoking such concepts as becoming, multiplicity, or inclusive disjunction. However, when it comes to the point where it is necessary to give some specific example, usually they refer to modern literature (Kafka, Melville, Lovecraft) and modern cinema (Mann). Deleuze and Guattari’s theory is never accompanied by scientific research in biology. In this respect Deleuze’s predecessor Gilbert Simondon elaborates a more nuanced theory, based on the knowledge of physical, biological, human, and technological systems, which are all related on the basis of so-called “analogical paradigmatism.” The analogy of different systems is based on the notion of transduction, which is defined as a “physical, biological, mental, social operation through which an activity propagates gradually within a domain, by founding this propagation on a structuration of the domain that is realized from one place to the next.” In this respect, transduction can be applied to different regimes of individuation.

Following Deleuze and Guattari’s and Simondon’s insights, this paper will discuss some “unnatural participations” in the field of bioart.

The paper will concentrate on a specific example of bioart, namely, Aurelia 1+Hz / proto viva sonification (2015) by Robertina Šebjanič (Honorary Mention Prix Ars Electronica 2016). The artwork uses bioacoustics (sounds, produced by Aurelia aurita, of a moon jellyfish, which were recorded at a marine station) to interrogate the interspecies communication between humans and marine animals. Aurelia aurita is an ancient species, having rudimentary sensory nerves that allows it to perceive light, smell, and orientation. Its gravity receptors, containing calcium crystals, are similar to our Vestibula system. In this sense, the artwork creates a certain “analogical paradigmatism,” which 114

makes it possible to examine its cohabitation with other living systems. The interactive performance features live transmitted sound generated by Aurelia aurita; this sound is navigated by the performer Robertina Šebjanič, thus creating interspecies sonification as a kind of “unnatural participation.” The paper intends to examine the analogy between human and non-human species and to investigate a specific sonic assemblage created by the performer and marine animals.

Aurelia 1+Hz / proto viva sonification contains a tracking system that follows the interaction between the jellyfish and generates locative media. The jellyfish are tracked by a raspberry pi camera. The camera measures the data of contraction, movement, and interaction between the jellyfish. The data captured by the camera in real time is transformed into information that provides navigation in the program of the sound archive containing recordings of previous experiments, such as sound data of jellyfish that was produced during the project, entitled Deep Blue, at the Institute of Marine Science and Technologies in Izmir, Turkey. The sound navigated by the performer/artist Robertina Šebjanič has been gathered by hydrophones recording underwater jellyfish bloom on the shores of Izmir in February 2014. The jellyfish used in the frames of the project are from the species of Aurelia aurita or moon jellyfish. It is the most common jellyfish found in seas and oceans worldwide and, at the same time, is a modular organism in laboratories for jellyfish research.

Audronė Žukauskaitė is Chief in Research at the Lithuanian Culture Research Institute. Her recent publications include the monographs From Biopolitics to Biophilosophy (2016, in Lithuanian) and Gilles Deleuze and Félix Guattari’s Philosophy: The Logic of Multiplicity (2011, in Lithuanian), and an edited volume titled Intensities and Flows: Gilles Deleuze’s Philosophy in the Context of Contemporary Art and Politics (2011, in Lithuanian). She also co-edited (with S. E. Wilmer) Interrogating Antigone in Postmodern Philosophy and Criticism (Oxford: Oxford University Press, 2010); Deleuze and Beckett (Basingstoke: Palgrave Macmillan, 2015); and Resisting Biopolitics: Philosophical, Political and Performative Strategies (New York, London: Routledge, 2016).

Email: zukauskaite.audrone [AT] gmail.com

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plateau 7 ch a i r ed b y J ea n - Marc Chouvel

EDWARD CAMPBELL University of Aberdeen, UK

EAST MEETS WEST IN FRANCE: CATCHING THE MUSICAL SCENT French modernism since Debussy has integrated within itself aspects of the music and culture of geographically diverse regions, including elements from China, India, Indonesia, Japan, and Vietnam. This paper focuses on the work of the generations of composers who succeeded Messiaen, Jolivet, and Ohana and Boulez in exemplifying how French modernism and the musics of the world encounter one another in innumerable, innovative ways.

On the French-born side, a large number of composers, many one-time members of Messiaen’s celebrated class, have drawn on the East in their work. Jacques Charpentier used Indian Karnatic modes for his seventy-two piano studies. François-Bernard Mâche composed a number of works drawing on aspects of the East including Maraé, Aera, and Khnoum. Jean-Claude Eloy engaged with the music and cultures of Japan, India, and Tibet, in works such as Kâmakalâ, Shânti (peace), and Gaku-no-Michi. French Canadian composer Claude Vivier integrated non-Western sounds into several of his works, and others, such as Hugues Dufourt, Georges Aperghis, Marc Battier, and Thierry Pécou, continue to engage with other cultures.

Such conjunctions are not the exclusive preserve of French-born composers and there are now several generations of Asian composers who have studied and worked in France.

These include Japanese composers Sadao Bekku, Makoto Shinohara, Akira Tamba, and Yoshihisa Taïra. Chinese composers include Hao Chang and Chen Quigang and there are Vietnamese composers Ton-that-Thiet and Nguyễn Thiên Đạo. Some of these figures have worked, in turn, with their own French-based Asian students: among Taïra’s pupils are Chien-Hui Hung, Liao Lin-Ni, and Malika Kishino. Other French-educated and/or resident composers include Xu Shuya, Karen Tanaka, Fuminori Tanada, Misato Mochizuki, Kenji Sakai, Sanae Ishida, Mayu Hirano, Keita Matsumiya, Naoki Sakata, and Aki Nakamura.

Beginning from this mapping–out of the musical landscape, the task of this paper is to consider the nature of the rhizomatic workings operational in these musical engagements, the deterritorialisations and reterritorialisations, the movements of the macro and micro, molar and molecular forces of East and West, which meet one another in ever-shifting assemblages of cultural, linguistic, and sonic forces. At least since the time of Debussy, 118

East and West may be thought of as partners in a Deleuzian “aberrant nuptial,” the aim of this paper being to consider how this operates in the music of Taïra, Dao, Thiet, Eloy, Pécou, and Kishino. In doing so, I will refer also to the work of Edouard Glissant, who drew on a number of Deleuzian concepts in his thinking on the relationships between global cultures. Thierry Pécou, for example, picks up on Glissant’s concept of “Creolisation,” which applies to the entire mix of global cultures and which is open equally to the cultures of China, Egypt, Japan, South America, and the rest. As Jean-Luc Tamby notes, in his “encounters with traditions,” Pécou “dreams of ‘making the whole world resonate.’” To further open out this idea and to explore such resonances will be the goal of the paper.

Dr Edward Campbell is Senior Lecturer in music at the University of Aberdeen and co-director of the university’s Centre for Modern Thought. He is the author of the books Boulez, Music and Philosophy (CUP, 2010), Music after Deleuze (Bloomsbury 2013), and the co-editor of Pierre Boulez Studies (CUP, 2016). He is currently editing The Cambridge Stravinsky Encyclopedia for publication in 2019 and working on a book provisionally titled East-West Musical Encounters in France since Debussy.

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Rogério Luiz Moraes Costa University of São Paulo, BR

Valéria Muelas Bonafé University of Sao Paulo, BR

SONIC NUPTIALS: COMPOSITION AND IMPROVISATION IN A DOUBLE CAPTURE; REFRAIN AND PROCESSES OF TERRITORIALISATION Although there is an intermediate field between composition and improvisation, when discussing the differences between these two forms of musical creation the main issues that arise relate to dualities: deferred time and real time, intentionality and nonintentionality, controlled and non-controlled, predictability and unpredictability, work of art and process.

In the collaborative project we propose, these differences will be used as fuel for the elaboration of an artistic work where ideas devised in a deferred time through the creation of original scores/scripts are concretised in a performance in real time. Thus, in a singular way, the project combines composition and improvisation, approaching what has been designated “comprovisation.” Like the Deleuzian image of the orchid and the wasp, this project involves a double capture and unfolds in a composition/improvisation-becoming, giving rise to a third thing that is in between them.

There is another important component: the performer improvises using a kind of “hybrid machine” that can be summarised in the following formula: musician + acoustic instrument (with preparation) + digital instrument (microphone + interfaces + computer + patch + speakers). These elements should—all together—adapt to the performance 120

environment.

Our proposal puts all these elements into play and takes the form of a saxophone solo improvisation performance with live electronics guided by a score/script prepared in deferred time in which new representational and solfege resources are dealt. From a compositional point of view, the project involves researching and inventing new types of scores. From the point of view of the preparation of improvisation, the project includes researching and inventing new instrumental approaches such as instrumental prostheses, modifications in the body of the saxophone, symbiosis with other instruments and accessories, and so on. Finally, the project aims to provoke, also in the audience, a new attitude of listening in a broad sense.

Furthermore, the performance should show the functioning of the acoustic-digital coupling, both at a more specialised level, with respect to the technologies involved, and at the level of physicality, with respect to the elaboration of specific instrumental techniques, appropriate to the agency of this “hybrid machine” in a continuous process of territorialisation, deterritorialisation, and reterritorialisation. Due to the complexity of this environment, this performance could be thought in terms of the dimensions of the refrain as described by Deleuze and Guattari in A Thousand Plateaus. This happens because the refrain, at the same time that it outlines a centre, is susceptible to cosmic calls, to lines of wandering. According to Deleuze and Guattari, “to improvise is to join with the world, or meld with it.”

Rogério Luiz Moraes Costa. Professor, composer, saxophonist, and researcher, Prof. Costa has worked at the music department of the University of São Paulo since 2002. Leading artists in Brazil and Europe such as the groups Abstray and Música Viva in Rio, Camerata Aberta in São Paulo, and the Pierrot Lunaire Ensemble in Vienna have played his compositions. His extensive academic output includes improvisations published in journals, conference proceedings, and books. Currently, Prof. Costa coordinates a research project at USP on improvisations and their connections with other areas of study such as composition, education, technology, ethnomusicology, philosophy, and cognitive sciences. Two of the most important current artistic projects related to this research are the groups Orquestra Errante and Entremeios.

Email: rogercos [AT] usp.br Web: rogeriocosta.mus.br; usp-br.academia.edu/Rog%C3%A9rioCosta

Valéria Muelas Bonafé. I was born in São Paulo, Brazil, in 1984. I studied composition with Aylton Escobar and Silvio Ferraz, and attended masterclasses with Emmanuel Nunes, Tristan Murail, Stefano Gervasoni, and others. I received my academic education (bachelor, master’s, and PhD) at the University of São Paulo (Brazil). In the 2013–14 academic year I studied at Musikhochschule Stuttgart (Germany), with Marco Stroppa, during an exchange programme.

My works have been performed at contemporary music concerts and festivals, such as Festival Música Nova (Brazil), Bienal de Música Contemporânea Brasileira (Brazil), SonicFestival (USA),

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Focus! Festival (USA), Le mois des compositeurs (France), highSCORE Festival (Italy), and Festival tonArt (Germany). I have worked in collaboration with various orchestras and international ensembles, including Orquestra Sinfônica do Paraná, Camerata Aberta, Télémaque Ensemble, Quartetto Indaco, and Ensemble Recherche. Currently I am a teacher at the Sao Paulo State School of Music, a member of Sonora—Músicas e Feminismos network, and a researcher at NuSom—Research Center on Sonology at the University of Sao Paulo.

Email: valeriabonafe [AT] valeriabonafe.com Web: valeriabonafe.com

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OBSOLETE CAPITALISM SOUND SYSTEM Rizosfera, IT

CHAOS SIVE NATURA The experiment Chaos Sive Natura is an interval, an in-between, an “&,” a critical space between Schönberg’s “to make music with ideas” (Schönberg and Kandinsky, Musica e pittura: Lettere testi documenti), the impartial acknowledgment that sound is the physical effect of vibrations travelling through air, the effect of these vibrations on the human cognitive function, its displacement in a “chaotic” spatial dimension, the Electric Tree (2016) of Franco D’Andrea’s electronic jazz, and the “molecularisation of sound” that puts to the test Deleuze and Guattari’s notion of rhythm in A Thousand Plateaus. Chaos Sive Natura attempts to trace a new path among the many that are possible towards new forms and contents, offering a reading of the Refrain plateau from the perspective of the new musical and philosophical culture theorised by Kodwo Eshun (More Brilliant Than the Sun: Adventures in Sonic Fiction, 1998), Erik Davis (“Roots and Wires,” 2008), Louis ChudeSokai (The Sound of Culture: Diaspora and Black Technopoetics, 2016), Achim Szepanski (“Technodeleuze and Mille Plateaux: Achim Szepanski’s Interview (1994-1996),” 2017), Edmund Berger (“Killing Art,” 2017), among others. Departing from Nietzsche and Spinoza, and arriving at Deleuze and Guattari, OCSS claims that even a small difference in the milieu can cause a radical change from the initial sonic material. At the horizon of Nature as rhythm, OCSS catches sight of how a “non-orientable accelerationism” may look like.

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Obsolete Capitalism is a collective for pure independent research. Self-defined as “gypsy scholars,” the collective deals with philosophy, art, and politics. Obsolete Capitalism edited and published Moneta, rivoluzione e filosofia dell’avvenire: Deleuze, Foucault, Guattari, Klossowski e la politica accelerazionista di Nietzsche (OCFP, 2016; English translation, forthcoming 2018), Archeologia delle minoranze (OCFP, 2015) and Birth of Digital Populism (OCFP, 2014). With Rizosfera edizioni, Obsolete Capitalism published Deleuze and theAlgorithm of the Revolution (Rizosfera/SF004), The Strong of the Future: Nietzsche’sAccelerationist Fragment in Deleuze and Guattari’s Anti-Oedipus (Rizosfera/SF001), Acceleration, Revolution and Money in Deleuze and Guattari’s Anti-Oedipus (Rizosfera/SF002), and Dromology, Bolidism and Marxist Accelerationism (Rizosfera/SF009). The collective also edits Obsolete Capitalism, Rizomatika, and Variazioni foucaultiane in the blogosphere. Obsolete Capitalism Sound System is the sonic sub-unit of Obsolete Capitalism that released “La machine informatique dub” (first 12 EP, NUKFM label, 2016) and Chaos Sive Natura (first album, NUKFM, 2017).

Email: obsoletecapitalism [AT] gmail.com Web: obsoletecapitalismsoundsystem.bandcamp.com/releases; obsoletecapitalism.blogspot.it

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Chris Stover Arizona State University, Tempe, US

DETERRITORIALISE YOURSELF! time— . . . (in a sense) proliferating—connection . . . —(promulgating connectivity piecemeal)— . . .

This paper imagines a line of flight from composer J. K. Randall’s provocative, experimental 1972 essay “Compose Yourself: A Manual for the Young,” transforming Randall’s prescription into the imperative deterritorialise yourself, and pursuing its radical implications. Just as territorialisation and deterritorialisation form an alwaysongoing assemblage through which identities are constructed and transformed—fixing and unfixing; always becoming-other—“compose yourself” (I suggest) bears with it a differential “decompose yourself” through which my identity is bound up in the very process of changing through the impingements of affective forces or actions of double capture that improvisational interactions engender. The thrust of this paper is to refract the implications of becoming-other enacted within processes of music-improvisational interaction back toward the emergent identity of the individuating participant, as a decomposing-oneself, as an always-ongoing process of deterritorialising oneself, as an enactment of an aberrant relationship with oneself, as a queering-oneself. This goes beyond the notion of performing one’s identity (or performing the identity of the musical work): performativity is nothing if not the acting-out of a differentiating relationship always already bound up within the more-than of a proliferating ecology.

The more-than, as Erin Manning describes, is an affirmation of difference, of the variation felt at the edges of relational experience, of the minor gestures that continually decompose performative acts even as they are being enacted. Like Manning, I assert that to think in terms of this double movement is to take an ethical position in which the boundary between what we might call, even creatively and affirmatively, a subject and the others the subject affects and is affected by becomes productively porous and identities become expressions of relationships, impingements, movements. Nuptials.

My composing/decomposing, territorialisation/deterritorialising (sonic) self-situates alongside and interacts fundamentally with a network of other selves, human and otherwise, all impinging on one another in complex arrays of affective relationships, all 125

engaging in multiply-directed acts of capture. Identity, therefore, is a process of becomingwith as much as it is a process of becoming-other. . . . —Drift. Slip a Cog.—drifting across some infolded interlock,—some mergingtime, Unfold.—(in passing). Reshape.—Refocus.— . . . colour of focus infolded: now merging, connecting;—infolded colour of merging unfolded: now focal;—structure: Bettertell time from time to time.

Chris Stover was an Assistant Professor of Music at Arkansas State University. His recent work is published in Music Theory Online, Media and Culture, Analytical Approaches to World Music, Open Space, and elsewhere, and he is the co-editor of a forthcoming volume on Jacques Rancière and music. He is also an improvising trombonist and composer in New York City.

Email: cdstover [AT] asu.edu

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Lilija Duobliene Vilnius University, Lithuania

SOUND AND IMAGE IN ARTISTIC FLOODING: VLADIMIR TARASOV, BILL VIOLA In A Thousand Plateaus, Gilles Deleuze and Félix Guattari use Jakob von Uexküll’s theory of transcodance in nature, according to which nature is treated as music with “components as melodies in counterpoints”; Deleuze and Guattari develop this idea proposing the example of an encounter between two different components—a wasp and an orchid— where the implication is reciprocal. As they say, “the two cases, however, are never pure; they are in reality mixed (for example, the relation of the leaf, this time not to water in general but to rain).”

Artists experimenting with sound use water in different water states (sinking, dropping, and flooding). The sound of flooding gives a special opportunity to think about art from a Deleuzo-Guattarian perspective. It opens territory into absolute chaos, “it is instead a catastrophe in which ‘form collapses’” and “everything changes direction” (Zepke, Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari). Flooding means the other consistence of space, which requires a changing gaze and understanding of things, of which positions they take. It creates conditions on a very broad scale: from contemplation to affectation, seeing, hearing, and being in different regimes, finding novelty, which arises from the encounter between two different elements that appear incidentally different—the variation of singularities among relations.

Lithuanian artist Vladimir Tarasov, a drum player experimenting with the sound of water and aleatoric compositional subtleties, has created numerous installations to investigate the possibilities and limits of sound (Incident in the Museum or Water Music, 1994; Installation at Solitude, 1996; Music on the Water, 1996; The First River, 2007). In his work he gives impulses for the independent fluctuation and unpredictable logic of installations, combining sound and image and different perceptions of time and space. I focus in particular on Incident in the Museum or Water Music (1992, 1993, 1994), displayed at the Chicago Museum for Contemporary Art, the Ronald Feldman gallery, New York (where the initial idea and the visual realisation were by Ilja Kabakov), and in other galleries around the world, where he experimented with the sound of drops of water falling into buckets during the performance of a major leak in an art gallery. Encountering the sound of water 128

falling onto metal and onto plastic gave Tarasov the stimulus to compose in the same manner.

A much more catastrophic example is presented in American artist Bill Viola’s video installation The Raft (2004), where the art “venture[s] into this catastrophe-chaos in order to bring something out” (Zepke, Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari). The visualisation of a tidal wave encountering a crowd on a platform is strengthened by electronic water sounds, which work not so much as sound transformation than as images.

The installations present an encounter between different objects mediated by sound (natural, acoustic, or electronic) during a catastrophe, which is involutional creation “in the domain of symbioses that bring into play beings of totally different scales and kingdoms, with no possible filiation” (Deleuze and Guattari, A Thousand Plateaus). I am trying to discover how artists using the speed and variation of intensities of sounds and images of a catastrophe create different diagrammatic movements.

Lilija Duobliene is Head of the Educational Department at the Faculty of Philosophy, University of Vilnius, Lithuania. Her research topics are in philosophy and ideology of education, creativity, and cultural encountering. Her works are based on the theories of Foucault, de Certeau, Dewey, and Deleuze. In recent years she has been working on Deleuze’s philosophy, applying it to the fields of education and music. She is the author of many articles and a monograph, among them articles developing Deleuze’s philosophy. For two years she was involved in the research project “Gilles Deleuze: Philosophy and Art,” which culminated in the monograph Rhythm and Refrain: In Between Philosophy and Arts (2016), written with co-authors.

Email: lilija.duobliene [AT] gmail.com

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Sotiria-Ismini Gounari National Kapodistrian University of Athens, GR

POLITICAL AFFECT AND BECOMING-CHILD: THE CASE OF MARLENE DUMAS Marlene Dumas is a prominent artist of our times whose work, consisting largely of figures and portraits of minority subjects, such as people of colour, women, and children, has been characterised as both emotional and political. In this paper I would like to examine Dumas’s work through the lenses of Deleuzian theory, by making use of the latter’s affective dimension.

Specifically I would like to analyse two paintings produced during the period around Dumas’s own pregnancy, Helena and The Baby, as materialising processes of becomingchild, and examine the latter under the light of contemporary theories on the political significance of affect. Combining Deleuze’s non-human, machinic agency and becoming as affective imperceptible process with the idea of “ugly feelings” as indicators of obstructed agency, I would like to explore how the above artworks contribute in new ways of sensing, perceiving, and intervening in the world.

Abstracting the world from elements of signification and meaning, Deleuze and Guattari reveal the latter as an interplay between affective functions and relations of movement and rest, speed and slowness. Children, according to them, can act as mediums carrying us away towards worlds of affects and intensities, leading us to liberating minoritarian processes, namely becomings, potentially guiding us from child-becomings to becomings that are molecular and ultimately imperceptible.

Following Deleuze’s view on aesthetics as creation of experience rather than representation and perceiving the children depicted in Dumas not as subjects or molar entities, but as powerful affective sites where vulnerability and defiance become assembled, I would like to consider her works as providing us with new ambivalent models and ways of sensing and encountering states of dependency, weakness, and need. By shedding light on the emotional weight of dependency, Dumas permits us to perceive the unavoidable state of relationality, that we are already immersed into, and therefore creates an affective political base for the deconstruction of subjective models built around the concept of personal sovereignty and of social models centrally relying upon the value of individualism. On the other hand, creating a space of child-becomings opens up a potential for a politics of care.

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Moreover, Dumas’s works offer a new perspective on the importance of minor negative emotions as potential liberating forces revealing cases where the power to act is obstructed or taken away altogether. The immersive figures of the above paintings, by expressing emotions of irritation, hostility, mistrust, and subtle anger as possible reactions to power subordination, affirm the effectiveness of radical passivity and create states of in-betweenness where the meaning of what is considered socially productive emotion becomes transformed.

Ultimately by bringing to the fore the child’s subtle and complex affective power, Dumas puts the viewer in a process sweeping away the poles of the adult–child distinction in a zone of indiscernibility that transforms both, liberating them from the tyranny of measuring themselves in relation to the universal, majoritarian ideal of subjectivity.

Ultimately by destabilising our conceptions about the passivity–action polarization and producing new ways of affective interaction, Dumas is potentially altering dominant conceptions of what constitutes socio-political agency.

Sotiria-Ismini Gounari was born in 1984. She studied architecture at the Aristotle University of Thessaloniki and wrote her research thesis on Deleuze-inspired architect Greg Lynn. While working as an architectural assistant she completed a master’s degree on political science and sociology at the National Kapodistrian University of Athens. Her thesis was on the political meanings of Deleuze and Guattari’s concept of nomadism. She worked as an interior designer and wrote an article on the affective consequences of “crisis” in her country of origin, Greece. She is currently theoretically interested in the intersection of affect, arts, and politics.

Email: sotiria.gounari [AT] gmail.com

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Runette Kruger Tshwane University of Technology, Pretoria, ZA

CHAOSMIC NUPTIALS: THE SECRET LANGUAGE OF MONDRIAN’S JAZZ In A Thousand Plateaus, the work of abstract painter Piet Mondrian is mentioned three times. The work and thought of Kafka, on the other hand, forms an unbroken refrain throughout the text, and for Deleuze and Guattari “No one is better than Kafka at differentiating the two axes of the assemblage and making them function together.”

However, it is possible to contend that A Thousand Plateaus is an extended play of variables referring pre-eminently to Mondrian, as a constant variable, and that to read the book is to hear Mondrian, so that as a point of departure here the statement becomes “No one is better than Kafka Mondrian at differentiating the two axes of the assemblage and making them function together.” How does this work?

Listening to the diagonal in Mondrian’s work (which is never there), makes it possible to discern that he is painting something else—the trace(r) of a “plurality of straight lines”; the intersection of sound and non-sound (which is neither sound nor silence); or “absolute speed.” Absolute speed can be found in a jazz club/time machine (“Everything in the bar moves and at the same time is at rest”), which decimates time not by travelling but by staying where it is: a time-space vector, a bit of time in its pure state approaching the superlinear system of music—a haecceity. In the mode of “new music,” Mondrian’s works depict a future event that has already transpired, but what will it be?

This paper/riff uses A Thousand Plateaus and Dialogues II to map Mondrian’s secret language, to deterritorialise the paintings (or rather to hear the deterritorialisations already at work in the work), by following as many lines of flight as possible to their infinite dimensions in and beyond the canvases. Thus, while it is possible to construe Mondrian’s abstract compositions as rigid utopias or as othering grids, invoking the line of death and abolition (as I have done elsewhere), a proximal listening to the compositions reveals hidden forces in the works—their true power. The artist stealthily uses the language of binaries (non-sound/sound, non-colour/colour, male/female, abstract/concrete, culture/ nature) to create a nuptial assemblage, so that when he invokes “the new music,” he does so with the nuptial line of flight in mind, combining binaries in a double capture—neither the same neutralising and eradicating the other, nor “opposites” merely “coupled.” The 132

concrete-abstractions, as Mondrian refers to them, are hence interpreted here as painted jazz, audible compositions in a time-space zone of indeterminacy that hosts aberrant nuptials across n vectors of “binaries.” The geometric canvases arrive fast and slow as nodes of becoming, functioning as the milieus for a swarm of becomings, or chaosmos.

This writing is hence an attempt to sound the artist’s secret language, to make the book machine/s of Deleuze and Guattari form a bloc with the war machine of Mondrian’s compositions somewhere outside and between the perpendicular.

Runette Kruger is Head of the Department of Fine and Applied Arts at the Tshwane University of Technology. She teaches art theory and supervises postgraduate candidates. She has published a number of articles and has delivered papers at national and international conferences. She recently completed a PhD in visual studies at the University of Pretoria for which she devised an agentic and dissident utopia, incorporating aspects of the work of Michel Foucault, Gilles Deleuze and Félix Guattari, Louis Marin, Michel de Certeau, and Homi K Bhabha. Her research interests include Dutch art, time, space, utopia, newness, cities, globalisation, agency, and dissent.

Email: krugerr [AT] tut.ac.za Web: orcid.org/0000-0001-9855-4471

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Catarina Pombo Nabais University of Lisbon, PT

DELEUZE’S AESTHETICS: FROM A TRANSCENDENTAL EMPIRICISM TO A PHILOSOPHY OF NATURE My paper focus on what I consider to be the great paradox of Deleuze’s thinking on art: the project of thinking art while refusing both an ontology of the work of art and a phenomenology of its reception. Deleuze believes that with the recomposition of the canonical fields of aesthetics on a new plan and on a new picture of thought, he can join both senses of aesthetics that, since Kant, have been radically separated: the theory of the sensible and the theory of the beautiful. Deleuze’s aesthetics seeks to draw the plan that could capture, within each artwork, the transversal cut of sensation and judgement.

However, this transcendental empiricism led Deleuze, from the 1970s on, to a theory of the self-expressive movements of the sensible, to a description of the mode of existence of artworks as epiphanies of forms of life. According to A Thousand Plateaus, art begins with territorial marks. They do not refer back neither to a sensation that captures them up and establishes them as impressions, nor to an object whose nature is to exhaust itself into its expression of marks. Deleuzian thinking of art does not imply therefore any empiricism, any theory of pure aesthesis. What exists for Deleuze is a self-movement of expressive qualities.

Besides the programme of a transcendental empiricism, Deleuze’s vitalism has also disrupted the centre of gravity of almost all questions that draw our system of thinking on art. Fiction, myth, expression—everything in the work of art is displaced towards the domain of a pre-individual life, towards the domain of a pragmatics of assemblages of enunciation as mechanical and collective forms of life. Deleuze’s pragmatics refers back to a theory of strata and stratification of the world where the assemblage emerges from codes, environments, rhythms. Concepts belonging to geology, biology, physical chemistry—such as coagulation, sedimentation, or molecular assemblies—fuse with semiotic categories to describe phenomena like the stratification of a statement or the deterritorialisation of a narrative or a character. Similarly, figures of life as bodies without organs, abstract machines, or lines of flight, are never biological metaphors transposed to the domain of the aesthesis or to the ontology of the artefact. On the contrary, they are strategies of intelligibility of the plurality of forms of inorganic life inside art.

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As an architectural system to approach Deleuze’s thought, I adopt the discovery of a permanent displacement of Deleuze’s view on art. I will try to show that to read Deleuze’s thinking on art is to understand his programme of a transcendental empiricism and its transformation into a vitalism of the inorganic.

Catarina Pombo Nabais received a PhD in philosophy from Université Paris VIII, Vincennes— Saint-Dennis, with the thesis “L’Esthétique en tant que Philosophie de la Nature: Le Concept de Vie chez Gilles Deleuze. Pour une Théorie Naturelle de l’Expréssivité. Regards sur la Littérature” (2007), under the supervision of Jacques Rancière. She is a postdoctoral researcher at the Centre of Philosophy of Science of the University of Lisbon (CFCUL), was Head of the CFCUL Science and Art FCT Research Group from 2008 to 2014, and since 2014 is Head of the CFCUL ScienceArt-Philosophy LAB. She is the author of Deleuze: Philosophie et littérature (Paris: L’Harmattan, 2013).

Email: catarinapombonabais [AT] gmail.com

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Daniel Weizman Kingston University, London, UK

THE ARTIST AS A CHILD: BECOMING A SELF-PROPELLING WHEEL This paper elicits an encounter between artists and children by exploring the role of the latter in Deleuze’s philosophy, where they become creators, thinkers, and experimenters. Deleuze has claimed that artists say what children say; in some sense, both create trajectories and becomings, engage in cartographic activity, and trace out a dynamic, intensive map of desires. And they ceaselessly talk about these explorations and adventures (children, at least). Children’s maps are populated by different milieus which they traverse on their journeys and in which their unconsciouses are invested, juxtaposing the real and the imaginary and bringing about a becoming, a zone of proximity and indiscernibility where they no longer distinguish themselves from what they are encountering. The artist’s maps are quite different, recreating trajectories of the imagination, outlining vast distances from the most immobile and confined scenes, and also evoking real voyages, either actual or virtual, and not necessarily experienced by the artists themselves.

I argue that the two do not exactly operate simultaneously, but in fact the artist performs a complex repetition of the cartographic activities initiated effortlessly and regularly by children throughout their voyages, in which they draw lively, dynamic maps, both real and imaginary, extensive and intensive, that are a function of their very movements and the trajectories that are formed. In other words, there is a becoming-child in art that is in a constant state of unfolding. What I wish to explore is a possible communication and engagement between two kinds of becoming—the becoming child of the artist and the many becomings of the boy and the girl, occurring under a single childhood-block that undoes the distinctions between adults and children by releasing dormant child-particles from the grown artist and active ones from the child.

In Thus Spoke Zarathustra, Nietzsche famously presents the three metamorphoses of the spirit: it becomes a camel, the camel a lion, and the lion a child. The child, claims Zarathustra, is innocence, forgetting, a new beginning, a game, a self-propelling wheel, a first movement, a sacred Yes. I argue that Deleuze takes this formulation literally and evokes real children in his philosophy of immanence and affirmation, particularly in The Logic of Sense, in which 136

the child appears to be a conceptual persona formed in the image of Lewis Carroll’s Alice.

Deleuze shows how Carroll traces the little girl’s trajectory from the abyss to the surface of language in order to create the adventures and becomings of Alice in Wonderland. Alice and Carroll can therefore serve as an example of how the artist follows the movements and becomings of a child and repeats them to discover his or her own becomings.

I unfold the encounter between the artist and the child in three stages: First I examine the logic of the voyage favoured by children, in which even the most trivial events are dramatised and raised to a transcendental level, charging the unconscious with affects and intensities that spur their cartographic abilities. I also examine how this logic is employed in plastic arts, in what ways artists form their own dynamic, movement-based maps in their work, and how these two practices of mapping coincide and differ in their inciting of the actual, the virtual, and the imaginary.

In the second stage I introduce two little girls, the one who is climbing to the surface of language in The Logic of Sense (sens), experiencing and experimenting with the very genesis of sense; and Lewis Carroll’s Alice, whose adventures are a becoming-child of Carroll himself.

In the third stage I provoke another encounter, between Nietzsche and the child, by imagining the latter as the over-human (Übermensch), the artist-player who is already reaching another kind of sensibility, outside morality and judgement, a true antichrist in a constant state of becoming.

Daniel Weizman is a PhD candidate at the Centre for Research in Modern European Philosophy (CRMEP) at Kingston University. His dissertation, titled “Problematics in Philosophy: Epistemology and History,” examines the concept of the problem in the philosophy of Deleuze, Nietzsche, Bergson, and others, under the supervision of Professor Eric Alliez. He was a BA and MA student at Tel Aviv University; his MA thesis was titled “Gilles Deleuze and the Problem of Expression.” Weizman is a teaching assistant at CRMEP and a former lecturer at Tel Aviv University. At the SEP-FEP 2016 conference he presented a paper titled “Problematics in Philosophy: Creating a New Image of Thought.”

Email: weizman1987 [AT] gmail.com

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Magdalena Wisniowska Independent researcher, project-space leader and artist, Munich, DE

GENIUS AND GENESIS More than thirty years after Rosalind Krauss published her critique of originality in the journal October, the pursuit of a workable concept of genius might seem like a pointless task. Genius, despite its continual art-market appeal has no place in the discussion of contemporary or even historic art-making, where it is rightly rejected as an obsolete concept belonging to a different time. Kant wrote about genius, as did modernists such as Fry or Greenberg—whereas, we are all post-Kantian now.

No one in the art world today believes in the concept Rosalind Krauss exposed as myth.

She argues that the avant-garde’s search for originality had a meaning other than the revolt against tradition or the rejection of the past with which it is synonymous. Originality here stands for origin, new beginning, and birth. It is embodied in the figure of the genius, where absolute origin is identified with the artist’s self, uncontaminated by tradition and capable of continual regeneration. Yet, if one looks at the example of the grid, the actual practice of avant-garde art shows that the concept of originality emerges from the ground of recurrence and repetition. Artist after artist seems to have fallen for the same structural properties, mistaking the grid’s opaqueness, purity, and silence for the promise of a new beginning. Paradoxically, originality is enacted in the creation of a structure that can only be repeated, more so, a structure that is riven by processes of representation from within.

In light of Krauss’s critique, the current work of one of GiG Munich’s exhibiting artists, Tim Bennett, is intriguing, even troubling. For, at his recent exhibition at Jo van de Loo, Me-is----ter (a play on the German word, Meister, master), he seemed more than happy to repeat the avant-garde’s mistakes. His paintings were made by pouring tinted plaster through gypsum board in a manner that recalled Jackson Pollock at the height of his fame. These were accompanied by three abstract sculptures consisting of equal sized marble blocks, chipped away in best modernist fashion, the broken pieces saved and reassembled at the top, some painted in bright pastel colours. Both the work and the title evoked the concept of genius, indulging in its familiar narrative. Bennett’s manner of working—craftsman-like and matter of fact—only heightened this impression.

Using Tim Bennett’s exhibition as a starting point, this paper re-examines the narrative of genius, taking into account, on the one hand, Krauss’s critique of originality, and on 138

the other hand, Giles Deleuze’s reading of Kant’s Critique of Judgement from a genetic perspective, “The Idea of Genesis in Kant’s Esthetics.” Since the publishing of Krauss’s essay, genius has been equated with the originality of the avant-garde, the dismissal of one necessarily entailing the dismissal of the other. By making genius a spokesperson for the principle of genesis, Deleuze reconfigures Krauss’s binary coupling of originality and repetition, in favour of the productive indeterminacy that is one of the topics of the current conference. Central to my argument is Deleuze’s definition of genetic principle as the free and indeterminate accord between imagination and understanding that comes prior to any further legislation by the faculties. The paper discusses how such a revised notion of indeterminate genesis affects our understanding of contemporary art.

Magdalena Wisniowska is an independent researcher, project space leader, and artist, currently based in Munich. She studied fine art at the Royal Academy in London and completed a PhD in visual cultures at Goldsmiths College, London, in 2010. A participant in the conference Aesthetics of the 21st Century in 2012, her essays on speculative realism and Deleuzian aesthetics have been published as part of Speculations, in Deleuze Studies, and in SubStance.

Since 2015 she has been running an art project space, GiG Munich. Notable exhibitions include USA (in cooperation with Camberwell College of Art), Stefan Lenhart, fruits of the dawn, and inorganic landscape featuring Rebecca Partridge, Stefanie Hofer, and Miriam Salamander.

Email: gigmunich [AT] gmail.com Web: gigmunich.com

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p l a te a u 9 c h a i r e d by s i m on o'sulli van

Luis de Miranda The University of Edinburgh, UK

FICTION, PHILOSOPHY, AND POETRY WRAPPED AROUND THE CREAL: ON WRITING THE NOVELLA WHO KILLED THE POET?

Often, when confronted with an up-close manifestation of what my brother called “The Creal,” that vital metamorphic lava of life as constant creation, we bury our gaze in the poster, the label, the package—like that photo of an anonymous old man Bardo took when he was in London with Ophelia, on the way to Oxford, where her father Peter Lovelace lived. On the back of the photo, my brother had written: We form ourselves to fit the pattern of the old days, of a time when nothing had yet been discovered on the other side of the limit of reality. We must be ready for another world to emerge, something beyond the daily business agenda. The blank-faced, and the lifeless, shall be buried. Intellect will be considered, sometimes, to collude with what it has denounced, for having sensed such mechanical absurdities, and yet failed to act. We are off to lands unknown, to breach every border. And nothing means anything in this world for us, except dying to be born again in the next and to create it, deep-rooted and dazzling, as one harpoons a monster. Already there emerge, in our murmurings, fields furrowed with our future deviactions.

This is an excerpt from Who Killed the Poet? (Snuggly Books, 2017), the English translation of the French novella Qui a tué le poète? (Max Milo, 2011), in which the Deleuze-inspired notion of Creal, first presented in the essay “Is a New Life Possible? Deleuze and the Lines” (Nous, 2009; Deleuze Studies, 2013) is allegorically unfolded in a tale of rebirth and rebellious esprit de corps, a textual machine in which philosophy, fiction, and poetry converge or diverge to create a physical experience of what our relationship with the Creal might be (see “On the Concept of Creal,” DARE 2015). Excerpts of Who Killed the Poet? will be assembled and manifested, in an attempt to answer the following questions: What does it mean for the same (?) author to write fiction, poetry, and philosophy around the same concept, and to what extent does it modify the author’s voice and life? Do genre nuptials produce a new unity, or an avoidance of unity (a resistance)? What are the forces 142

at work behind the seven masks of Who Killed the Poet?: Ophelia Lovelace, Bardo Senior, Bardo Junior, Peter Lovelace, William Lovelace, Lea-Maria Spielswehk (an anagram of Shakespeare), and the narrator, Bardo’s twin?

The concept of “Creal” qualifies a non-anthropocentric universal of the kind proposed by modern process ontologies: “Creal” is akin to what Deleuze called “disparateness” or “second-degree difference,” what Deleuze and Guattari called “chaosmos” or “plane of immanence,” what Bergson called “duration,” “creative evolution,” or “life,” and what Whitehead called “creativity process,” adding that “creativity is the universal of universals characterizing the ultimate matter of fact.” The Creal does not seem to be teleological: it is likely to diffuse in all real and virtual directions, without a pre-defined direction, since it can be co-created at every moment (with the “Creal-Poet”). The Creal hypothesis designates an immanent, ever-present, ever-absent, precursor or cosmic microprocessor: “Thunderbolts explode between different intensities, but they are preceded by an invisible, imperceptible dark precursor, which determines their path in advance but in reverse, as though intagliated.”

Since this intervention is intended to be in part a conversation with the audience, it will be partly improvised.

Luis de Miranda is the author of novels and essays, including a monograph on Deleuze, Is a New Life Possible? Deleuze and the Lines (2013). In 2008 he introduced the concept of Creal, of which he gave an account at the DARE 2015 conference, in relation both to Deleuze and his work as a novelist. In 2016, he introduced the concept of anthrobotics as a new research project on social machines. In 2017, he was awarded a PhD on the notion of esprit de corps at the University of Edinburgh.

Email: luis.demiranda [AT] ed.ac.uk

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Tero Nauha Helsinki Collegium for Advanced Studies, FI

FICTIONING A THOUGHT OF PERFORMANCE Art and philosophy are non-parallel nuptials. Artistic practice often follows the forms of “philosophising,” but both art and philosophy are forms of thinking in materialistic terms. But how does performance think and can we regard the different series of thought, philosophy, and performance as conflating into one universal thought? In my presentation, my aim is to articulate the concepts of mutation and clone as gestures of thought in performance and in relationship to the thought of Gilles Deleuze, Félix Guattari, and François Laruelle.

If performance is regarded as the act of restored behaviour, where one is acting as if being beside oneself, then the act is not a copy but a clone and a mutation. The thought of performance is not a copy but a mutation and a clone, which has a particular consistency.

For Laura Cull, performance is a failed register in miming without a reference; it is a clone—a clowned version of the real.

Performance is not fiction, but indefinite fictioning, as similarly intransitive as becomings for Deleuze and Guattari. The term “fictioning” is based on the François Laruelle’s term fictionale. This presentation aims to articulate fictionale and fictioning as “improper” thought in performance. Fictioning does not correlate with the world as a proper gesture of thought, or through its resemblance to the Real, but it remains abstract. It is futuristic and atemporal. Artistic practice is not fiction, but rather an indefinite fictioning—that is, it is not a narrative way of telling the same thing. In fictioning, facts and stories do not mix, but they remain in superposition.

Performance as fictioning is not a liminal state, but enacting the between. It is thought on the delivery, like an advent of thought. Fictioning is indeterminate, where it differs from uncertainty. It does not function through resemblance, analogue, or similarity.

Fictioning is superposition with the gestures of thought, a superposition of ontologically indeterminate states. Performance not only represents the body but also clones the body.

There is no first knowledge or “standard” aesthetics of art, but a generation of the forms of thought. Fictioning is not an analysis of the world, but it is an organisation of the matter in the real.

Ilona Hongisto has been articulating the use of the concept of “fabulation” by Deleuze in 144

relation to documentary cinema, and my articulation on fictioning has certain relations with fabulation. Aside from fabulation, a thought from performance is fictioning that equalises decisional thought with other possible forms of thought. It does not reduce the thought of a performance artist’s, actor’s, or dancer’s body into decisional and philosophical forms of thought.

The presentation will include a paper and an experimental part, which comprises a short performance with voice, electronics, and Theremin, remodelled by Derek Holzer, an instrument builder and sound artist based in Helsinki and Berlin (macumbista.net).

Tero Nauha is an artist, a postodoctoral fellow at the Helsinki Collegium for Advanced Studies, and a member of the Academy of Finland–funded postdoctoral research project “How to Do Things With Performance.” He defended his doctoral research at the Theatre Academy of the University of the Arts in Helsinki in January 2016. In 2015, he published his first novel, Heresy and Provocation, for Swedish publishing house Förlaget. His performance art projects have been presented at the Frankfurter Kunstverein, Theatrediscounter in Berlin, CSW Kronika in Bytom, Performance Matters in London, and at the New Performance Festival in Turku, among other venues.

Email: teronauha [AT] gmail.com Web: teronauha.com; howtodothingswithperformance.wordpress.com

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Katie Pleming Gonville and Caius College, Cambridge, UK

DELEUZE, DURAS: DESIRE, COMMUNITY, POWER

“Marguerite Duras, comme chacun le sait, elle adore la mer. Bon, bon, pourquoi, pourquoi?” (Deleuze, Cinéma et Pensée)

Deleuze’s readings of Duras’s cinema (primarily in Cinema 1 and 2, but also in his mid90s lectures at the University of Paris VIII) offer a useful starting point for thinking about Duras and Deleuze together. In this paper I draw on “The Components of the Image” from Cinema 2, especially those moments where Deleuze explores the relationship between image, time, and space. Mapping Deleuze’s readings, as he situates Duras and her oceanographic images within a modern cinematic crisis of representation, I suggest that Duras creates a cinematic mode apt to experience outside a classical “masculine” mode.

As Leslie Hill and James S. Williams have noted, Duras conceived of her written work as in some way fluid, constructing a “capacious” style which, if not in conscious opposition to phallogocentric literature, was certainly predicated on multiplicity and the breakdown of reified literary categories. Hill in Marguerite Duras: Apocalyptic Desires cites Duras’s reference in La vie matérielle to “fluid . . . écriture flottante,” while Williams in Revisioning Duras: Film, Race, Sex recalls Duras’s self-definition of her work as “écriture courante, Duras’s answer in the 1980s to écriture féminine.” Looking closely at Duras’s “India Trilogy”—La Femme du Gange (1974), India Song (1975), and Son nom de Venise dans Calcutta desert (1976)—and exploring the notion of a feminine cinematic mode predicated on fluidity, I read desire as it is understood by Deleuze and Guattari: as a productive force, which, through its very refusal to be reduced to a single figure or object, is reminiscent of the linguistic figure of multiplicity—“and”—which represents, for Deleuze in Negotiations 1972–1990, a “line of flight” along which “things come to pass, becomings evolve, revolutions take shape.” Exploring how notions of identity and community are troubled through the figure of desire, as “making love is not just becoming as one, or even two, but becoming as a hundred thousand” (Hill, Revisioning Duras: Film, Race, Sex), I read Duras with Deleuze, mapping the link between cinematography and revolutionary desire, and 146

drawing Durassian cinematic liquidity towards anti-oedipal territory.

Voice and temporality. In “The Components of the Image” in Cinema 2 Deleuze builds on his discussion of modern cinema, exploring an “irrational cut” that occurs not at the level of montage, but rather in the relationship between the very elements of the cinematic experience: image-track and sound-track. For Deleuze, “modern cinema implies the collapse of the sensory motor schema.” A break is effected, as a result of which speech “withdraw[s] from the image.” The “visual image,” for its part, becomes marked by a renewed focus on space and its “strata,” elements of the visualisation of space qualified

by Deleuze as “those silent powers of before or after speech.” If, in the cinema of (male) filmmakers like Alain Robbe-Grillet, these modern visual images are classified as “archaeological, stratigraphic, tectonic,” Duras’s images are awarded their own epithet: “oceanographic.” But what, precisely, does Deleuze mean by this? Although it is certainly true that many of Duras’s films refer to or focus around bodies of water—lake, river, ocean— the “oceanographic” quality proper to her films goes beyond such literal representation.

The Durassian image’s oceanographic quality, I argue, can be thought in relation to time and trauma, space and experience, movement and desire.

If stratigraphic images “take [the viewer] back” (Cinema 2) to “the deserted layers of our time which bury our phantoms,” the specific intervention of Duras’s visual oceans might be their refusal to formulate time into strata; Duras’s images might thus be read as so many time-images evoking Bergsonian durée, wherein virtual and actual coexist, as moments of past and present surface, mirroring the workings of the unconscious. Indeed, later in the chapter Deleuze states that Duras’s intervention is to create visual images that “go beyond its stratigraphic or ‘archeological’ values towards a peaceful power of river and sea which stands for the eternal, which mixes up strata and carries away statues.” Such a connection suggests a possible reading of Duras’s anti-narrative cinematic style, where action and linear progression are replaced by circularity, repetition, and static staging, as her films “tear . . . the speech-act away from myth.”

Space. For Deleuze, as “sound image” and “visual image” obtain autonomy, the newly structured visual spaces take on a new quality: “the specific readability of the visual image becomes oceanographic” (Cinema 2), as it gestures towards a “marine perception that is deeper than that of things.” As we have seen, the experimentation with desynchronisation in La Femme du Gange begins the work of destratification; however, it is when Duras turns her attention to the decadent spaces of India Song, and to their ruin in Son nom de Venise, that the apocalyptic possibilities of oceanographic space emerge. Reading the construction of space in the two films, I explore the ways Duras approaches the question of absolute desire, the apocalypse, and their visual (non)representation, as the visual is “torn from its empirical exercise and is carried to a limit which is at once invisible and yet can only be seen (a kind of clairvoyance, differing from seeing, and passing through anyspace-whatevers, empty or disconnected spaces).”

Movement, flow, desire. In Cinema 2, Deleuze is more concerned with the voices and settings of Duras’s characters than with their physical embodiment. Although these do not always coincide, it is productive to focus on the movement of desiring bodies in Duras to draw the visual fluidity of Duras’s cinema to new Deleuzian territory. Expanding the 147

notion of a “liquid quality,” a term Deleuze uses to denote the constant return in Duras’s films to misty, water-logged settings, I read the characters’ glacial, languid circulation and stagnation in La Femme du Gange and India Song alongside Deleuze and Guattari’s conception in Anti-Oedipus of a desire outside the Freudian economy, marked by fluidity, flow, and movement. Thus, if, for Deleuze and Guattari, “desire is present wherever something flows or runs, carrying along with it interested subjects . . . towards lethal destinations” (Cinema 2), the workings or flows of desiring-production with capitalist society can be interrupted, diverted, towards a revolutionary horizon. Drawing on, and departing from, Laura McMahon’s reading of Duras’s communities of lovers, I argue that Duras sets up desiring communities in which sexuality exits the “bedroom of Oedipus” for “wide-open spaces”, in order to “cause strange flows to circulate that do not let themselves be stocked within an established order.”

In his close reading of Duras’s cinematic style, Deleuze explores the ways in which her films use image and sound to elaborate a “marine perception” that exceeds traditional representational modes. Spaces are emptied out and clock-time deconstructed as Duras’s Atlantic subjects are set adrift in an immanent plane of desire. Reading Cinema 2 alongside Anti-Oedipus reveals the revolutionary potential of Duras’s fluid cinema, via the elaboration of desiring communities at the limits of the socius in the “India Trilogy.”

Katie Pleming is a master’s student in film studies at King’s College London. Focusing on the intersections between film and philosophy, she is interested in experimental queer cinema, feminisms, and French philosophy.

Email: katherine.pleming [AT] kcl.ac.uk

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Elizabeth Presa University of Melbourne, AU

SCULPTURE INSTALLATION: GARDEN OF SMALL NUPTIALS Accompanying the announcement of the conference Aberrant Nuptials is an image of Bernini’s sculpture Daphne and Apollo, which famously depicts the moment when Daphne, fleeing Apollo, “launches down a line of flight” into strange and unnatural becomings. In the original sculpture in the Galleria Borghese, exquisitely carved forms appear to oscillate between the marble’s frozen translucence and the movement of flesh and hair becoming roots, bark, branches and foliage. Before commencing carving in marble, Bernini experimented with full-size clay models. The Vatican Museums holds two such clay models for the Ponte Sant’Angelo angels, comprised not only of clay but also of plant fibre, hair, and bundles of reeds. They still bear the impressions of Bernini’s fingerprints. The physicality of the materials and immediacy of processes—modelling of wet clay over plant and other organic matter—compel wonder. For it makes evident the fact that the world, in its most mundane sense, holds within it potential for remarkable transformation, whereby even some dirt, clump of straw, or stone can take on the character of a wing, flesh, or the transcendence of mystical experience. Deleuze, in quoting Leibniz in The Fold reminds us that “each portion of matter may be conceived as a garden full of plants, and as a pond full of fish. But every branch of each plant, every member of each animal, and every drop of their liquid parts is in itself likewise a similar garden or pond.”

What is the connection between this account of matter as infinite plenitude—a garden and pond teeming with life—and a thematic of strange and unnatural nuptials such as might occur between heterogeneous systems, organisms, geographies, and mythologies?

Australia, as an ancient continent, could be said to be teeming with such aberrant nuptials, where primordial strata permeate life and experience. Consider the ancient figurative Gwion Gwion cave paintings whose vibrant colours are produced by “living pigments” of red cyanobacteria and black fungi. These organisms sustain a process of symbiosis and equilibrium while simultaneously etching the paintings deeper into the rock. The sticky substances, secreted by the rock-adapted fungi and cyanobacteria, aid adherence to the rock and resistance to dehydration, keeping the art in a state of perpetual (re) incarnation—a “living” prehistoric art (Mircan and van Gerven Oei, Allegory of the Cave Painting). The movements between biological and chemical secretions and metabolisms 149

reveal an art that is simultaneously dead and alive, prehistoric and contemporary.

In a movement from the ordinary to the remarkable, gestures in clay and ochre mark out strange anatomies, as allegories of metamorphoses and flight shape becomings.

Rock becomes flesh—a biofilm of bacteria—as hair becomes plant, filaments, and fibres.

Secretions of sorrowful tears and sticky liquids sustain gardens of living pigments to catch intensities of light, with each work a register of shifting fidelities.

My suburban garden in Melbourne contains various species of indigenous and exotic trees, plants, herbs, shrubs, and weeds, as well as beehives, silkworm colonies, a fishpond, and various native and exotic birds and insects. It often forms some unexpected relationship or encounter with my sculpture. Indeed, much of my work is made within the vibrating hum of the beehives against the outside wall of my studio. The installation I’m presenting, Garden of Small Nuptials—an etiolation of some of the plants and elements found in the garden—marks a moment where an imagined line of flight carried by the light and heat of the sun, shifts into a relationship with death—(a necessity for biosecurity and passing borders.) Through chemical processes, life unfolds in different forms. Horizons shift and reorient—but as with any etiolation in nature, plants spread their “shoots only where determinate effects take place” (Zourabichvili, Deleuze: A Philosophy of the Event).

Elizabeth Presa is a Melbourne-based visual artist and Head of the interdisciplinary Centre for Ideas, in the Faculty of the Victorian College of the Arts and MCM, the University of Melbourne.

She has an ongoing project entitled Apian Utopias: Small Architecture for Bees, with iterations in Tokyo with the Ginza beehives; Pilchuck Glass School where she was artist in residence; Minzu University Beijing, and Melbourne. The next stage of this project will take place in Kyoto.

Email: epresa [AT] unimelb.edu.au Web: elizabethpresa.com

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Eldritch Priest Simon Fraser University, Burnaby, CA

A MATTER OF STYLE AND SHEER ENTHUSIASM What is it to think when thought is freed from all ends, practical, fanciful, or otherwise?

Where would thought go, if it were liberated from the demands of meaning? What would it do? What would it feel like? To whom or what would it be responsible? Clearly thinking of this sort would be accountable to no one in particular. And it most certainly would have no truck with what is called “truth.” Such thinking would likely approach the condition of a pure event, an absolute instance of thought coming to pass. For someone like Baudrillard this indeterminate condition is nothing less than the achievement of radical thought.

But for Deleuze there is no genuine occasion of thought without a break with “truth,” an affirmation of indeterminacy, and the feeling of an extra-normal way of being, or rather, the expression of sheer enthusiasm.

Thought, in other words, is always already radical, indefinite, and intense. Or more exactly, thought is not so much intrinsically radical as it is fundamentally a matter of style—a way of continuously putting expressive connections in productive variation. But if this is the case, then what does thought’s style look like? What does it sound like? How does its play of arrant variation feel? Or better yet, what does it do? In my presentation I try to raise thought’s matter of style and level of content by taking the form of an essay-cummonologue as an occasion to make its being written and read—its “thinking”—felt as variably as it can be. More specifically, and perhaps more stylishly, over the course of three loose refrains combing text and video I put thought’s enthusiasm in play by imagining how the hemming-and-hawing narrator of David Markson’s Wittgenstein’s Mistress might think about how Susanne Langer might think about Elizabeth Costello’s take on the adventures (or non-adventures) of earworms, cockroaches, mimes, and logic as so many ways in which the extra-normal being of thinking comes to drift, divagate, and maybe even dawdle.

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Eldritch Priest writes on sonic culture, experimental aesthetics, and the philosophy of experience from a ’pataphysical perspective. His essays have appeared in various journals and he is the author of Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (Bloomsbury, 2013) as well as a co-author of Ludic Dreaming: How to Listen Away from Contemporary Technoculture (Bloomsbury, 2017). Presently, he is working on a new book about earworms, daydreams, and other lived abstractions. Eldritch is also active as a composer and improviser.

Email: epriest [AT] sfu.ca

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Liana Psarologaki University of Suffolk, Ipswich, UK

ARTISTIC SPATIOTEMPORAL EXPERIENCES AFTER GILLES DELEUZE, ALAIN BADIOU, AND BRIAN MASSUMI: A THEORY OF BECOMING We are not in the world, we become the world by contemplating it.

(Deleuze and Guattari)

This paper addresses a parallel and intertwining duality of art and architecture as two fields of multiple non-binary systems, that enfold while “kissing,” according to Sylvia Lavin. It moreover establishes the production of this kiss as the ontological becoming of experiential space that is partially architectural and partially artistic, actual and virtual, introducing genomenology; an epiphenomenological approach to frame the kissing of the two domains as emergent spatiality. Deriving from the verb γίγνoμαι (gí.gno.me, to become), genomena constitute the events that occur or become in relation to their ontological existence. The paper will create a theoretical index critically informed by the theories of Brian Massumi and his definition of “affect,” “habit,” and “virtuality” after Gilles Deleuze. Deleuze’s theory of the “event” and “becoming” (The Fold) and Alain Badiou’s topological ecology of ‘localised events’ (“The Matheme of the Event”) support in the context of this paper the theorisation of lived experiences as temporal and situational occurrences that are received sensorily and produce affective atmospheres. Considering the artistic experience as profound and intimate, the paper will define a new critical vocabulary as emerging from practical ramifications. It does so, by asserting the existence of an epiphenomenological becoming of space as chorotopical (from choros as space and topos as locus) art—a hybrid spatial practice, which oscillates between architectural expression and artistic intervention.

The paper and presentation will attempt to define a Deleuzian ontotopology of chorotopical art via three new key terms: (i) veoma (the lived experience of a localised event that may be actual and virtual), (ii) genomenon (the ontological occurrence of veoma that does not merely appear), and (iii) coaesthesia (the sensory immediacy that takes place during veomata and in response to affective atmospheres, which lead to spatial encapsulation and therefore immersion). The paper will negotiate the new vocabulary against three art 153

projects case studies: Hydor (2013), Cryptopology (2014), and Spatial Sea (2016). Hydor examines virtualities and actualities in space and the role of the artistic intervention as genomenon of a notation on the architectural order. Cryptopology will investigate the hinging of sensory triggering as coaesthesia in a condition where artistic intervention is dominated by the topology and enhanced by the atmosphere of an architectural site that is timeless. Spatial Sea expands upon the concept of veomatic experience as a temporarily localised virtuality with sociocultural and mnemonic references, which aims to disrupt the habitual movement (as actuality) in the architectural site and acts as an immaterial locus as well as a material context. The reflective analysis of the case studies shifts the agenda towards thinking about art and architecture as two nuptial spatial practices, via the establishment of a shared theoretical vocabulary for when the two dynamically enfold in the creation of topologically aberrant and typologically warped space.

Dr Liana Psarologaki is a Greek artist, architect, and academic, based in the UK. She holds a PhD from the University of Brighton (2015) sponsored by the University for the Creative Arts and a master’s in architecture from the National Technical University of Athens (2007), and practised architecture before her MA in fine art at UCA Canterbury (2010). Awarded many times for academic excellence, and internationally presented and published, her work contributes to the current criticism on the aesthetics of contemporary art. Dr Psarologaki is a Senior Lecturer at the Department of Arts and Humanities, University of Suffolk, at Ipswich.

Email: l.psarologaki [AT] uos.ac.uk Web: aylostopos.com

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INSTALLA TI O N S

Marina Kassianidou HOW TO KNOW: A SPACE Artist book viewing Red Room Paulo de Assis and Michael Schwab NIETZSCHE6+1: THE WEIGHT OF MUSIC Two-channel video. 60 min on loop Cellar Obsolete Capitalism Sound System CHAOS SIVE NATURA LP listening Red Room Adina Ochea GILLES DELEUZE GLOSSARIES Book installation Red Room Elizabeth Presa GARDEN OF SMALL NUPTIALS Sculpture installation Penthouse Liana Psarologaki HYDOR Video projection. Continuous loop Entrance Spencer Roberts DELEUZE x DERRIDA Machine writing event Cellar

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Adina Ochea Independent artist-researcher

LINES OF FLIGHT. GILLES DELEUZE GLOSSARIES Lines of Flight—Gilles Deleuze Glossaries was my graduation project at the Gerrit Rietveld Academy in 2015. The series encompasses three glossaries: “The Fold” and “Difference and Repetition,” based on the books of the same name by Gilles Deleuze, and “Rhizome,” based on the text by Deleuze and Félix Guattari.

These books are an attempt to apply Deleuze’s concepts formally, as a design method, in the binding and editing of the text. The content is a collection of some of the visual, literary, and cultural references made by the philosopher as he elaborates his ideas, an indication of his advanced knowledge of past and present art and culture intricately interwoven into his complex arguments. I have added images or fragments of text illustrating my own attempt to access, navigate, and acquire some of this encyclopaedic knowledge.

The three glossaries have a strong sculptural aspect, but are also at the same time books— their aim is to be read. While reading them may feel unusual and slightly disorienting, the experience of looking, leafing, or scrolling through them functions as a part of understanding their content. Two of the three books have no clear beginning or end because Deleuze himself argues his texts can and should be accessed at any point, read in a non-linear fashion.

The way the glossaries are regarded is strongly dependent upon the context in which they are encountered. When exhibited in a gallery setting, despite also including copies for leafing through and reading the text and despite written encouragement to do so, most viewers are reluctant to touch them and prone to regard them as objects rather than texts, walking around them and only admiring their formal qualities. The general fear of destroying an artwork prevails over the curiosity of reading. In more informal settings, most books lose their status as art objects and are treated more freely, although the Fold seems to still pose problems with respect to its proper opening and closing—that is, folding out from and back to a flat shape. Readers tend to think a book should look the same when repeatedly closed, which is not a mandatory aspect of these books at all. Performances of the three books being read at regular intervals put people more at ease with them, by showing them how to treat the shapes when reading them. After the performances, the books are always left in a different position/configuration.

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My work is entitled lines of flight as a translation of the French lignes de fuite. The translator, Brian Massumi, notes that, in French, “Fuite covers not only the act of fleeing or eluding but also flowing, leaking, and disappearing into the distance (the vanishing point in a painting is a point de fuite). It has no relation to flying.� As a designer, many of my points of access to Deleuze’s concepts were visual and tactile, as the frequent visual illustrations appearing in my glossaries can attest. I hope my glossaries will incite their readers to find their own knowledge paths within them.

I was born in Romania, where I witnessed the first televised revolution. I always envied writers, artists, and film directors, which led me to try to infiltrate their ranks. I studied history of art and literature in Germany, wrote an MA thesis on nonsense literature, and then studied fine arts and graphic design at the Gerrit Rietveld Academy in Amsterdam. I have lived in the United States, Germany, Romania, the Netherlands, and France. I speak seven languages but often cannot find my words. I believe we have the moral imperative to be inquisitive in order to understand as much as possible. Art is not entertainment. There is no time for entertainment.

Email: adinaochea [AT] gmail.com Website: adinaochea.tumblr.com

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PAULO DE ASSIS Orpheus Institute, Ghent, BE

MICHAEL SCHWAB University of the Arts, Helsinki, FI / Orpheus Institute, Ghent, BE

NIETZSCHE6+1: THE WEIGHT OF MUSIC Between 1854 (when he was aged ten) and 1872, Friedrich Nietzsche wrote a substantial number of musical compositions, including fragmentary pieces for solo piano, several songs, an uncompleted mass, and even a sketched opera. His activity as a composer remains essentially unknown, and his music pieces are rarely performed. A great admirer of Richard Wagner and profoundly influenced by the thought of Arthur Schopenhauer, Nietzsche-the-composer (a very young Nietzsche) understood music as an oceanic field of uncontrolled feelings and emotions, of which the composer was the “medium,” an agent passively dominated by transcendent powers of inspiration and creation. In this sense, Nietzsche’s musical compositions disclose a character and a personality substantially different from the far better known Nietzsche-the-philosopher.

Whereas Nietzsche-the-philosopher was a destabilising constructor, the inventor of new images of thought, the active operator of a fundamental redefinition of values, Nietzschethe-composer appears deeply rooted in and submitted to pre-existing, gregarious values.

For Nietzsche, music had the problematic potential of carrying an “oppressive weight”—an expression he openly used to refer to one of his compositions, and, later on, to Wagner’s music in general. This weight he increasingly associated with the idea of “swimming,” to which he proactively opposed the notion of “dancing.” Nietzsche 6+1: The Weight of Music is a two-screen rendition of the performance of Nietzsche 6 at the Tanzquartier Wien, 28 November 2015, in which we present musical compositions by Nietzsche in dialogue with fragments of his texts, with pieces by other composers related to his life, and with reflections on artistic research today.

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Paulo de Assis | concept and piano Michael Schwab | concept and speaker Marlene Monteiro Freitas | dance Juan Parra Cancino | live electronics Lucia D’Errico | video projection and intertitles Valentin Gloor | pre-recorded voice Setsuko | video editing

For Paulo de Assis’ bio, see Concert.

Michael Schwab is an artist and artistic researcher who interrogates post-conceptual uses of technology in a variety of media including photography, drawing, printmaking, and installation art. He holds a PhD in photography from the Royal College of Art, London, that focuses on post-conceptual post-photography and artistic research methodology. He is Visiting Professor of Artistic Research at the Helsinki University of the Arts as well as a research fellow at the Zurich University of the Arts and the Orpheus Institute, Ghent, where is a senior researcher in the research project MusicExperiment21, and the University of Applied Arts, Vienna, where he jointly leads Transpositions: Artistic Data Exploration. He is co-initiator and inaugural Editor-inChief of JAR, the Journal for Artistic Research.

Email: michael.schwab [AT] jar-online.net

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The Orpheus Institute (Ghent, Belgium), founded in 1996, is an international centre of excellence with its primary focus on artistic research in music: “research embedded in musical practice and primarily guided by artistic objectives.” The institute combines advanced education programmes, a high-quality research centre, excellent educational and research facilities for musicians and a broad and (inter)nationally oriented network.

The Orpheus Institute hosts the international inter-university docARTES programme for practice-based doctoral study in music. docARTES is a doctoral programme for performers and composers. It offers a unique environment for critical reflection on musical practice.

Since 2004, docARTES has nurtured more than fifty gifted performers and composers to become equally talented artist-researchers through intensive advanced training within the Orpheus Institute.

The Orpheus Research Centre, home to around twenty-five artist-researchers, was launched in 2007. Its mission is to produce and promote the highest quality research into music, the processes of music making, and our understanding of them. Throughout the research centre’s activities there is a clear focus on the development of a new research discipline in the arts: one that addresses questions and topics at the heart of the artist’s musical practice. Research at the Orpheus Research Centre addresses long-standing and emerging issues that are of great significance to the artistic and artistic-research communities in both Flanders and abroad.

This close collaboration at the institute between doctoral students and senior researchers creates an inspiring research environment where artists experiment, exchange findings, and develop new initiatives/knowledge. Throughout the activities there is a clear focus on the development of a new research discipline in the arts, addressing trending questions and topics at the heart of musical practice. To promote and disseminate this knowledge, the Orpheus Institute organises seminars, study days, workshops, and masterclasses, an annual Academy and a Research Festival. Next to that, the Orpheus Institute also has its own publication series.

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for research, conservatoires, and universities in Flanders, Europe, and the rest of the world.

All these aspects have made the Orpheus Institute what it is today: the leading European centre for artistic research in music and an influential driving force for new developments in artistic practice, with an impact that is felt worldwide.

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INDEX OF AUTHORS A Assis, Paulo de 34, 36, 40, 43, 156, 159, 160 Attiwill, Suzie 58 B Baranova, Jūratė 92 Baranzoni, Sara 80 Baross, Zsuzsa 46 Beier, Jessie 94 Bird, Terri 60 Bogue, Ronald 16, 40 Bolt, Barbara 29, 43 Buchanan, Ian 23, 40 Burleigh, Peter 104 C Campbell, Edward 118 Charitonidou, Marianna 48 Chouvel, Jean-Marc 27, 43 Collett, Guillaume 42, 82 Costa Malufe, Annita 159 D D’Errico, Lucia 34-36, 160 Dimitrova, Zornitsa 107 Duobliene, Lilija 128 E Eckersley, Andrea 62 Elberling, Anders 63 Ettinger, Bracha L. 24, 40 F François, Jean-Charles 51 Frisk, Henrik 63 G Gianoukas, Lindsay 70 Gloor, Valentin 160 Gounari, Sotiria-Ismini 130 168

I Ionescu, Vlad 43

Roffe, Jon 67 Rothfield, Philipa 68 Rutgeerts, Jonas 77

J

S

jagodzinski, jan 18, 40

Sauvagnargues, Anne 22 Schwab, Michael 156, 159, 160 Setsuko 160 Sholtz, Janae 100 Stover, Chris 125

K Kassianidou, Marina 96, 156 Kennedy, Niall 98 Kruger, Runette 132 L Lebedev, Oleg 72 Lindwall, Christer 87 M Machado Silva, Fernando 73 Marra, Emilia 84 Miranda, Luis de 142 Monteiro Freitas, Marlene 35, 160 Moraes Costa, Rogério Luiz 120 Muelas Bonafé, Valéria 120 N Nauha, Tero 144 Nony, Anaïs 86 O

T Themistokleous, George 111, 123 Tuinen, Sjoerd van 43 U Ueno, Toshiya 102 V Vellodi, Kamini 19, 43 Vignola, Paolo 89 W Weizman, Daniel 136 Wisniowska, Magdalena 138 Z Žukauskaitė, Audronė 114

Obsolete Capitalism Sound System 156 Ochea, Adina 156, 157 Östersjö, Stefan 87 O’Sullivan, Simon 30, 43 P Parra Cancino, Juan 34, 36, 160 Pirker, Christoph Walter 53 Pleming, Katie 146 Pombo Nabais, Catarina 134 Pont, Antonia 66 Presa, Elizabeth 149, 156 Priest, Eldritch 151 Psarologaki, Liana 153, 156 R Radman, Andrej 55 Rheinberger, Hans-Jörg 21 Richardson McCrea, Eva 75 Roberts, Spencer 109, 156 169

see you at DARE 2019: Machinic Assemblages of Desire!

Cover Image: Gian Lorenzo Bernini, Apollo e Dafne. Galleria Borghese, Rome