Brian Massumi and Communication Studies

Author(s):  
Marnie Ritchie

Brian Massumi (1956–) is a contemporary political theorist of communication, critical and cultural studies, philosophy, political theory, science, and aesthetics. One of the foremost thinkers of “radical empiricism,” he is responsible for enabling the widespread use of Deleuzean philosophy in communication and inaugurating the so-called “affective turn” in the theoretical humanities. Massumi is Professor of Communication at the Université de Montréal and a collaborator with the experimental art and activism lab SenseLab, founded by Erin Manning. His most well-known translation is Gilles Deleuze and Felix Guattari’s A Thousand Plateaus (1987), and he is the author of ten books, including the widely influential Parables for the Virtual: Movement, Affect, Sensation (2002). Massumi’s radical empiricist approaches concern the aesthetics of communication and power in the context of global capitalism. He opens the field of communication to the study of relationality, what he calls “being-in-becoming,” which he describes in terms of Gilles Deleuze’s “the actual” and “the virtual.” His critical embrace of becoming reframes the concept of “the event” as a processual unfolding of forces of expression, or experience. Instead of remaining wedded to communication models that limit language to designation, manifestation, and signification, Massumi’s focus on becoming calls for accounts of the extra-linguistic. Three key concepts include expression, affect, and perception. Through creative and experimental dispositions, Massumi position the fields of communication, critical and cultural studies, philosophy, political theory, science, and aesthetics toward vibrant scenes of relations-already-underway, or how feeling, thinking, and being begin, again, in the middle of something already underway—a “happening doing.”

Author(s):  
J. Macgregor Wise

Gilles Deleuze (1925–1995) was one of the most influential philosophers of the 20th century. His key writings include Difference and Repetition and The Logic of Sense as well as a number of commentaries on a range of philosophers and volumes on film, literature, and painting. His is well known for his collaborations with radical psychoanalyst Félix Guattari, including Anti-Oedipus and A Thousand Plateaus. Deleuze’s work focused on matters of immanence, becoming, and multiplicity. In Difference and Repetition he challenged the image of thought as representation and argued instead for the idea of thought as an encounter and event. In The Logic of Sense he explored the relation of language and event, developing his concept of sense. In his collaborations with Guattari they promoted the idea of thought as a rhizome and developed the concept of assemblage as a process of articulating and arranging bodies, discourses, affects, and other elements. Deleuze’s work therefore challenges common models and understandings of communication. In his later work he elaborated on the idea that communication was a means of control. Deleuze’s work has entered the field of communication scholarship through the influence of both Australian and North American Cultural Studies and through the uptake of his work on cinema and concepts of rhizome, assemblage, and control in media studies research.


Author(s):  
Admink Admink ◽  
Тетяна Уварова

Дослідження присвячено розкриттю сутності інтервального методу та введенню його як дослідницького інструменту культурології. Об’єктом дослідження постає методологія культурології, предметом – інтервальний метод, що сформувався у постмодерністській методології. Здійснено спробу експлікації ключових принципів інтервального методу та обґрунтовування необхідності його використання для дослідження культури. Наукова новизна полягає у введенні інтервального методу у методологічний інструментарій культурології. Зроблено висновок щодо можливості введення інтервального методу у методологію культурології як інструменту багатовимірного аналізу культури. The research aims to disclose the essence of an interval method and its introduction as a research tool for the methodology of cultural studies. The object of research is the methodology of culture, the subject of research is the interval method formed in the methodology of post-modernism. In the article, the author attempts to explicate key concepts of the interval method and justifies the necessity of its use in cultural research. Scientific novelty consists in introduction of the interval method into the methodology of cultural studies. The conclusion is made considering the possibility of introduction of the interval method in the methodology of cultural studies as a tool for multidimensional analysis of culture.


Author(s):  
John M. Sloop

While each term denoting the area of “Rhetoric and Critical/Cultural Studies” denotes a broad area of academic study on its own, there are numerous to contain or capture a specific area of study. Regardless of how it gets cordoned off, the area is defined by similar themes. In one sense, the area now going under this banner begins with the march of British cultural studies (especially, the so-called Birmingham School under Stuart Hall’s leadership) into the U.S. academic discussion that began in the 1970s. As this particular study of culture found its way into communication studies departments across the country, many scholars emerging from their graduate programs were shaping the area of rhetoric and critical/cultural scholars in the very act of researching the ways meanings/ideology were constrained and enabled by the operation of the entire circuit of meaning (i.e., production, consumption, representation, identity, and regulation). As the critical/culture study of rhetoric and communication has grown, several themes have emerged: (a) the study of ideological and discursive constraints (often linked to a critique of neoliberalism); (b) the study of media ecology and its way of shaping meaning; (c) studies focusing on reception/agency/resistance; (d) studies concerning materialism and the ways communication is altered by the political economy; (e) studies based in performativity; and (f) studies based in affect theory. In general, regardless of the orientation, these studies are concerned with issues of power and action around intersectional axes such as gender, race, class, sexuality, ethnicity, class, and nationality.


2016 ◽  
Vol 48 (2) ◽  
pp. 143-164 ◽  
Author(s):  
Robert Redding

When a former Black editor says he was told that Blacks do not care about news by his White boss and a Black deejay is told that his commentary is too hard hitting and not to go to an event featuring a Black militant leader by his White boss, these personal accounts could be extrapolated to mean that there may still be a world filled with White privilege and an ensuing hegemonic bifurcation in a communication studies context. This study utilizes Afrocentricity and the agency that is denied to these two individuals to provide insight into a world where these Black media/newsroom personnel describe how they lost ground to their White media owners. Those interviewed said this world does not promote the agency that comes with Afrocentricity, which is utilized as a critical cultural studies lens to interpret these 18-question qualitative interviews. The environment that those interviewed described is a world not often viewed in the context of White media ownership and the Black-focused content that is produced within them, but is a phenomenon that may be better understood by utilizing an Afrocentric lens in a Communication Studies context.


Author(s):  
Aaron Louis Rosenberg

This chapter investigates the phenomenon of emigrant Zairo-Congolese musicians in Uganda, Kenya, and Tanzania and their attempts to integrate into these societies through a variety of strategies that overtly and covertly employ political elements. Remmy Ongala, Samba Mapangala, and the members of Orchestra Maquis all spent time in one of these countries and shaped their sound and messages in these settings, politics being a significant part of their work. While political communication studies focus on structures, institutions, and the media, it is the case that in numerous African contexts music is an integral part of political understanding and participation. Drawing upon the works of scholars such as Michael Urban, Mark Mattern, and Uche Onyebadi, this chapter combines varied fields such as ethnomusicology, political communication, and cultural studies to provide a close understanding of these musical emigrants as well as an exploration of the social trajectories in their work over the course of the last half century.


Author(s):  
Sara Rushing

The body, political theorists well know, has long served as a metaphor for the structure and relations of the polis. But embodiment is something that political theory has frequently bracketed when theorizing citizenship, agency, and the category of “the human.” Against this tendency, how might we reimagine the political potential of embodiment, or make space for considering “the virtues of vulnerability”? This chapter sets up the book as a whole, by raising and situating this question, and introducing readers to the key concepts grounding this inquiry: humility, autonomy, citizen-subjectivity, awakenings, medicalization, and neoliberalism. How does the problem of bodies get taken up within contemporary healthcare, where the consumer-patient gets hailed as an autonomous choice-maker, and what lessons can we learn about health, and health citizenship, from examining the tensions at work here?


2009 ◽  
Vol 34 (3) ◽  
pp. 243-255 ◽  
Author(s):  
LAURA CULL

This article provides an exposition of four key concepts emerging in the encounter between the philosophical man of the theatre, Antonin Artaud, and the theatrical philosopher, Gilles Deleuze: the body without organs, the theatre without organs, the destratified voice and differential presence. The article proposes that Artaud's 1947 censored radio play To Have Done with the Judgment of God constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Drawing from various works by Deleuze, including Difference and Repetition, The Logic of Sense, A Thousand Plateaus and ‘One Less Manifesto’, I conceive differential presence as an encounter with difference, or perpetual variation, as that which exceeds the representational consciousness of a subject, forcing thought through rupture rather than communicating meanings through sameness. Contra the dismissal of Artaud's project as paradoxical or impossible, the article suggests that his nonrepresentational theatre seeks to affirm a new kind of presence as difference, rather than aiming to transcend difference in order to reach the self-identical presence of Western metaphysics.


Author(s):  
Atilla Hallsby

Within communication studies, critical and cultural scholars will likely encounter psychoanalytic methods by way of rhetoric scholarship, which has made plentiful and recurring use of Freudian and Lacanian concepts. A survey of psychoanalytic methods “before” and “after” the linguistic turn is offered—juxtaposing key concepts with rhetorical scholarship that employs psychoanalytic terms of art. Psychoanalytic theory is foundationally the study of the unconscious. Before the linguistic turn, the Freudian theory of the unconscious informed Kenneth Burke’s theory of identification developed in A Rhetoric of Motives and numerous Jungian analyses of cinematic texts. In the linguistic turn’s aftermath, the psychoanalytic theory of Jacques Lacan contributed understandings of speech, identification, and rhetoric that transformed Freud’s original formulations and productively supplemented Burke’s. These contributions, captured in Lacan’s four fundamental concepts of psychoanalysis, registers of the unconscious, and The “Seminar on ‘The Purloined Letter,’” illustrate a variety of ways that critical and cultural scholars have enlisted psychoanalysis to describe instances of public address, social movements, political and legal discourse, and cinema/film. The unique feature of Lacan’s approach is that the unconscious is structured like a language, which means that the unconscious is received as a speech act. Moreover, contrary to the view that the subject uses the signifier, Lacan maintains that the signifier exercises an organizing role over the subject and its desire. Conceived within the history, theory, and practice of rhetoric, psychoanalytic theory offers conceptually rich insights tethered to the concepts of the unconscious, the signifier, and the drive (among others) that are enabling to the aims of critical and cultural studies.


Freud and Monotheism: Moses and the Violent Origins of Religion brings together fundamental new contributions to discourses on Freud and Moses, as well as new research on the intersections of theology, political theory, and history in Freud’s psychoanalytic work. Highlighting the broad impact of Moses and Monotheism across the humanities, the contributors hail from such diverse disciplines as philosophy, comparative literature, cultural studies, German literature, Jewish studies and psychoanalysis.


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