Assembling emergence: making art and selling gas in Bulawayo

Africa ◽  
2019 ◽  
Vol 89 (3) ◽  
pp. 479-498
Author(s):  
Joshua D. Rubin
Keyword(s):  
Gilles Deleuze ◽  
Felix Guattari ◽  
The Political ◽  
Art Galleries ◽  
Innovative Strategies ◽  
Liquid Petroleum Gas ◽  
Political Conditions ◽  
The City ◽  
Economics And Politics ◽  
Making Art

AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.

scholarly journals On Feeling Political: Negotiating (within) Affective Landscapes and Soundscapes

PhaenEx ◽  
2012 ◽  
Vol 7 (2) ◽  
pp. 96
Author(s):  
JEAN-THOMAS TREMBLAY
Keyword(s):  
Gilles Deleuze ◽  
Research Question ◽  
The Other ◽  
Political Life ◽  
Felix Guattari ◽  
The Political ◽  
Political Theorist ◽  
Alternative Approach ◽  
Lauren Berlant

This article generates an affective hermeneutics of the political. The research question, What is feeling political? is, at first, refined through the oeuvre of political theorist Simone Weil, whose focus on experience, involvement and attention highlights the role of sentience in political life. The inescapable normativity of Weil’s texts calls for an alternative approach to the question at hand, one that acknowledges the inevitability of the phenomenon of feeling political. In order to produce such an approach, the realm in which said phenomenon occurs is spatialized as an indefinite series of rhizomatic affective atmospheres in which the negotiation of one’s involvement, resistance, association, and isolation prompts a variety of orientations. The work of Lauren Berlant is subsequently considered as a means to stress the interplay between noise and ambience on one hand, and the notions of citizenship and community on the other. Ultimately, a reflection inspired by Gilles Deleuze and Félix Guattari emphasizes the humanist undertone of this investigation, reposing the question of feeling political as an ontological query.  

scholarly journals RIO EM PEDAÇOS

Revista Prumo ◽  
2021 ◽  
Vol 6 (9) ◽  
Keyword(s):  
Rio De Janeiro ◽  
Gilles Deleuze ◽  
Space Time ◽  
Felix Guattari ◽  
Continuous Logic ◽  
Robert Smithson ◽  
Modern Age ◽  
Peter Eisenman ◽  
The City ◽  
The Way

Desde o início da Idade Moderna, a maneira como enxergamos a realidade à nossa volta esteve pautada por uma lógica inevitavelmente contextualista, linear e contínua. Fragmentação e anacronismo são, assim, propriedades inconcebíveis do espaço e do tempo, o que se reflete na maneira como se percebe e se age na cidade. Contudo, autores como Gilles Deleuze e Félix Guattari, Peter Eisenman e Robert Smithson (entre outros e outras), com seus respectivos conceitos de Rizoma, Diagrama e Site/Non-site exploram a potência e as múltiplas possibilidades de um espaço-tempo intermediado pela modernidade. O presente ensaio lança mão desses conceitos com o intuito de fazer emergir uma outra realidade. Para tanto, propõe um grid ficcional como ferramenta que opera sobre a cidade factual do Rio de Janeiro, que assim se transforma em um Rio aos Pedaços. Palavras-chave: Rio de Janeiro; Rizoma; Diagrama; Grid. Abstract Since the beginning of the Modern Age, the way we see the reality around us has been guided by an inevitably contextualist, linear and continuous logic. Fragmentation and anachronism are, therefore, inconceivable properties of both space and time, precluding the way one perceives and acts upon the city. Yet, authors such as Gilles Deleuze and Félix Guattari, Peter Eisenman and Robert Smithson (among others), with their respective concepts of Rhizome, Diagram and Site/Non-site, have explored the power and multiple possibilities of a space-time alien to the modern worldview. This essay makes use of these concepts in order to bring about another reality. To this effect, it proposes a fictional grid that acts upon the factual city of Rio de Janeiro, which becomes a Rio in Pieces. Keywords: Rio de Janeiro; Rhizome; Diagram; Grid.

scholarly journals UM EXERCÍCIO DE RESISTÊNCIA A PARTIR DE PRÁTICAS AUTOGESTIONÁRIAS NA EDUCAÇÃO PÚBLICA DO ESTADO DO RIO DE JANEIRO

polemica ◽  
2018 ◽  
Vol 18 (1) ◽  
pp. 21-30
Author(s):  
Gian Cabral De Lima ◽  
Maria Helena Zamora
Keyword(s):  
Rio De Janeiro ◽  
Field Experience ◽  
Gilles Deleuze ◽  
Felix Guattari ◽  
Self Management ◽  
Subject Group ◽  
State School ◽  
Whole Process ◽  
The City ◽  
Liberating Education

Resumo: O presente trabalho consiste no relato de uma experiência de campo ocorrida em uma escola estadual no município de Niterói. A discussão procura se pautar nas diretrizes da pesquisa interversão e da análise institucional para habitar o espaço existencial em questão com o objetivo de analisar as práticas educacionais exercidas neste campo. O método utilizado foi a cartografia de Gilles Deleuze e Felix Guattari. Foi analisada nesta instituição a possível emergência de um grupo sujeito e suas decorrentes práticas de liberdade exercidas através de um dispositivo criado pelos próprios participantes da pesquisa, um projeto pedagógico que visa uma educação libertadora e autogestionária. Todo o processo é pensado dentro do contexto socioeconômico brasileiro e fluminense, para, por fim, se dar a análise do que foi relatado.Palavras-chave: Experiência. Pedagogia. Escola.Abstract: The present work consists on the report of a field experience that occurred in a state school in the city of Niterói. The discussion tries to be guided by the guidelines of the interversion research and the institutional analysis to inhabit the existential space in question with the objective of analyzing the educational practices practiced in this field. The method used was the cartography of Gilles Deleuze and Felix Guattari. It was analyzed in this institution the possible emergence of a subject group and its resulting practices of freedom exercised through a device created by the participants of the research, a pedagogical project that aims at a liberating education and self-management. The whole process is thought within the Brazilian and Rio de Janeiro socioeconomic context, in order, finally, to give the analysis of what was reported.Keywords: Experience. Pedagogy. School.

David Hammons meets Richard Serra downtown

2020 ◽  
Vol 9 (1-2) ◽  
pp. 107-117
Author(s):  
Anthony Iles
Keyword(s):  
New York ◽  
Political Economy ◽  
Michel Foucault ◽  
Gilles Deleuze ◽  
Felix Guattari ◽  
The Political ◽  
Production Of Space ◽  
Direct Reading ◽  
Finite Resource ◽  
Richard Serra

This article was originally presented at a seminar organized by Josephine Berry (2020) around the ideas of milieu and geoaesthetics, derived respectively from Michel Foucault (2009) and Gilles Deleuze and Félix Guattari (1999). In this account of a network of artworks, I will focus on direct reading of a significant conjunction between works by Richard Serra and David Hammons through an understanding of the political economy of New York at an important moment of transition. I develop the understanding of milieu derived from Michel Foucault with Henri Lefebvre’s concepts of the ‘production of space’ (1991) and the ‘reproduction of the relations of production’ (1976), operations by which capitalism survives its crisis of accumulation at a key conjuncture in the 1970s which has direct consequences for the works I discuss. Responding to the initial presentation context for this article, a seminar coordinated by Dr Josephine Berry, geoaesthetics, a concept derived by Berry from ideas of milieu and geoaesthetics, respectively, from Michel Foucault (2009) and Gilles Deleuze and Félix Guattari (1986) is grasped in the sense of art and aesthetics responding to the earth’s (adopting the same prefix as) geology, geography and geometry (ge) by offering a planetary reading of art or experience of art that is entwined with a consciousness of our planet as a totality, and perhaps galvanized by our increasing awareness of it as a finite resource. Geoaesthetics in this context is thought of as an aesthetics, an attempt to understand the experience of artworks in ways that render accessible the conditions of their making and witnessing in terms that are inseparable from the environments and conditions in which they are made and experienced.

scholarly journals Les moulins à farine du Séminaire de Saint-Sulpice à Montréal (1658‑1840) : essai d’analyse économique d’une prérogative du régime seigneurial

2006 ◽  
Vol 18 (1) ◽  
pp. 184-207
Author(s):  
Corinne Beutler
Keyword(s):  
Political System ◽  
The Political ◽  
Traditional Role ◽  
Accounts Receivable ◽  
For Profit ◽  
Economic Entity ◽  
Political Dimensions ◽  
The City ◽  
Economics And Politics ◽  
Complete Account

Abstract The Sulpician seminary in Paris established a Canadian chapter in Ville-Marie (later Montreal) in 1657; six years later this branch became seigneur for three properties, the seigneuries of Ile de Montréal, Lac-des-Deux-Montagnes to the northwest and Saint-Sulpice to the northeast. The Conquest severed the connection with the founding house, but until the commutation of seigneurial tenure in 1840, the Canadian seminary vigorously maintained its traditional role. While earlier work has explored the seigneurial system in its legal, social and political dimensions, little work has been done on the seigneury as an economic entity, its potential for profit and loss and the manner in which traditional obligations were balanced against financial realities. Though they do not provide a complete account and offer many difficulties for analysis, the carefully preserved records of the Séminaire de Saint-Sulpice offer an important look at the financial workings of one aspect of a seigneury. Elsewhere the author has surveyed the wheat economy of Montreal, and the place of the Séminaire in provisioning the city. In this essay, she examines the interplay of economics and politics, of obligations and profitability in the management of the resources of these three properties. The author concludes that the Sulpicians attempted to achieve two objectives simultaneously: the maintenance of status and power within the political system, and the maximization of profit within the economic system. The extensive statistical basis for her conclusions is presented in a series of tables which detail the construction of both water and wind mills, and the duration of their activity; the cash receipts from each; the annual production of the mills; the accounts receivable compared with the actual receipts; the costs of running the mills, and the profitability of the mills as a strictly economic enterprise. The Séminaire invested large amounts in both their wind, and the more expensive water mills; they expected that investment to yield a solid return. Their record of repairs and renovation to existing mills, their concern for fire prevention and their willingness to invest in greater mechanization all point to a commitment to the mills as an economic enterprise. The Séminaire jealously guarded its seigneurial rights over mill sites to the end, but by the 1820s they were prepared to concede to entrepreneurs the risk of operating in an increasingly competitive commercial and industrial climate.

‘Come and See the Blood in the Streets’: Luciano Berio, ‘Coro’, and the Affective Staging of the One-Crowd

2019 ◽  
Vol 100 (4) ◽  
pp. 685-712
Author(s):  
James Davis
Keyword(s):  
Gilles Deleuze ◽  
Political Context ◽  
Political Activity ◽  
Felix Guattari ◽  
The Political ◽  
Luciano Berio ◽  
Musical Production ◽  
Philosophical Framework ◽  
The One ◽  
Political Alignment

Abstract Luciano Berio’s most substantial work from the 1970s was Coro (1976)—an hour-long piece for chorus and orchestra. This work has attracted a small literature that attempts to understand it in terms of the philosophical framework of the French theorists Gilles Deleuze and Félix Guattari. These Deleuzo-Guattari speculations have remained rather abstract; specifically, they have not attempted to relate the work to the concrete political context of 1970s Italy. This essay attempts to enrich our understanding of Berio by relating the choral work to this political context. In so doing, it will contribute towards a more thorough understanding of the political significance and functioning of the works of one of Italy’s leading composers, and suggest a striking political alignment between his musical production and the radical extra-parliamentary political activity of the 1970s.

scholarly journals DARI MAKASSAR KE MAKASSAR: ASPEK DEMOGRAFI DAN POLITIK PROSES “ETNISASI” SEBUAH KOTA

Populasi ◽  
2016 ◽  
Vol 14 (1) ◽  
Author(s):  
Dias Pradadimara
Keyword(s):  
20Th Century ◽  
The Political ◽  
Early 20Th Century ◽  
South Sulawesi ◽  
Local Politicians ◽  
Political Conditions ◽  
Ujung Pandang ◽  
The City ◽  
Political Scene

The city of Makassar, once named Ujung Pandang, in South Sulawesi, underwent tremendous transformation in the 20th century. This transformation significantly changed the image of the city from a cosmopolitan town to a provincial and “ethnic” city. This article shows that the changes of the city’s image did not happen by itself. There were changing structural conditions, namely demographic and political conditions, which allowed the changes to happen.Since early 20th century the population of the city has grown exponentially. First, in-migrants from the surrounding regions in the eastern part of Indonesia flocked into the city until early 1950s. Second, due to the rebellion and unrest in the countryside of South Sulawesi since 1950 inmigrants, mostly refugees, from Bugis-speaking areas in even larger number swarmed Makassar. Parallel with the demographical changes, the political scene in the city (and the province) was increasingly dominated by politicians and bureaucrats of South-Sulawesi origins. The Permesta rebellion in late-1950s triggered the departure of mostly non-South Sulawesi politicians away from the region leaving the political stage fully in the hands of local politicians. The “ethnic-ization” of the city was made possible by these demographical and political changes.

Disruptive writing and a critique of territoriality

2004 ◽  
Vol 30 (2) ◽  
pp. 201-228 ◽  
Author(s):  
Prem Kumar Rajaram
Keyword(s):  
Collective Memory ◽  
Gilles Deleuze ◽  
Political Identity ◽  
Specific Consumption ◽  
Felix Guattari ◽  
The Political ◽  
Contemporary State ◽  
The World

Gilles Deleuze and Félix Guattari wrote of the territorialising of the world, describing the commodification of space; its parcelling out and regimentation ensuring stable, unvarying coherence. Territorialised space, when well regulated, becomes a settled base for the political and for notions of political identity, heritage and kinship. Kenan Ferguson describes this as ‘the location and creation of civilization in a specific consumption of the land, as well as the subsequent delegitimation of those with different conceptions of it.’ The contemporary state is the receptacle of human ambition and desires, with history, allegiance and kinship understood in terms of its borders; there is a retrospective history premised on strategic forgetting and the cultivation of a collective memory coherent before the contemporary state.

scholarly journals Politicizing flight in Edward Albee’s seascape

2021 ◽  
Vol 5 (1) ◽  
pp. 10-19
Author(s):  
Zied Khamari
Keyword(s):  
Political Thought ◽  
Gilles Deleuze ◽  
Modern Society ◽  
Felix Guattari ◽  
The Political ◽  
Edward Albee ◽  
Similar Tendency ◽  
The Social ◽  
Contemporary Life ◽  
The Individual

In recent years, scholars and critics have become increasingly interested in the view that art is a means to escape from the existent reality and the difficulties of modern civilization. Many writers emphasized in their literary works the need to be emancipated from the restrictions of modern society and underlined the idea that flight is the ultimate way to avoid the complexities of contemporary life. Edward Albee, for example, addressed the issue of flight in his drama, particularly the sociopolitical and artistic scopes of escape. In his Seascape, Albee presents a multifaceted perception of flight juxtaposing the social with the literary and the political with the artistic. In the postmodern political thought too, there is a similar tendency that valorizes the struggle for the liberation of the individual from all forms of repression and domination exerted by sociopolitical forces. Gilles Deleuze & Félix Guattari (2005), for instance, criticize the constraints and rules that power authorities use to control the individual and call instead for freeing humans from all authoritarian policies. This paper, then, seeks to examine Albee’s staging of flight from the Deleuzo-Guattarian perspective in an attempt to elucidate his complex yet refined dramatization of escape in his play Seascape.

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