Mobilization of the Planet from the Spirit of Self-Intensification

2006 ◽  
Vol 50 (4) ◽  
pp. 36-43 ◽  
Author(s):  
Peter Sloterdijk
Keyword(s):  
Critical Theory ◽  
Gilles Deleuze ◽  
Body Movement ◽  
The Body ◽  
Felix Guattari ◽  
Peter Sloterdijk ◽  
First Time ◽  
The Relationship

The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a critical theory of mobilization. An interview with choreographer Hooman Sharifi accompanies a meditation on his recent performance.

Mutant Enunciations

2006 ◽  
Vol 50 (4) ◽  
pp. 17-20 ◽  
Author(s):  
André Lepecki
Keyword(s):  
Critical Theory ◽  
Gilles Deleuze ◽  
Body Movement ◽  
The Body ◽  
Felix Guattari ◽  
Peter Sloterdijk ◽  
First Time ◽  
The Relationship

The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a critical theory of mobilization. An interview with choreographer Hooman Sharifi accompanies a meditation on his recent performance.

Reflections on Failure

2006 ◽  
Vol 50 (4) ◽  
pp. 44-51
Author(s):  
Jenn Joy
Keyword(s):  
Critical Theory ◽  
Gilles Deleuze ◽  
Body Movement ◽  
The Body ◽  
Felix Guattari ◽  
Peter Sloterdijk ◽  
First Time ◽  
The Relationship

The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a critical theory of mobilization. An interview with choreographer Hooman Sharifi accompanies a meditation on his recent performance.

Paradoxical Body

2006 ◽  
Vol 50 (4) ◽  
pp. 21-35 ◽  
Author(s):  
José Gil
Keyword(s):  
Critical Theory ◽  
Gilles Deleuze ◽  
Body Movement ◽  
The Body ◽  
Felix Guattari ◽  
Peter Sloterdijk ◽  
First Time ◽  
The Relationship

The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a critical theory of mobilization. An interview with choreographer Hooman Sharifi accompanies a meditation on his recent performance.

scholarly journals SUBJETIVAÇÕES RIZOMÁTICAS E A IDEIA DE CORPO SEM ÓRGÃOS EM A FÚRIA DO CORPO, DE JOÃO GILBERTO NOLL

2019 ◽  
Vol 21 (1) ◽  
pp. 261-275
Author(s):  
Francisca Gilmara da Silva Almiro ◽  
Roniê Rodrigues da Silva
Keyword(s):  
Identity Construction ◽  
Gilles Deleuze ◽  
The Body ◽  
Felix Guattari ◽  
Critical Reading ◽  
Deleuze And Guattari ◽  
Brazilian Literature ◽  
Body Without Organs ◽  
The Way

O trabalho apresenta uma leitura da obra A Fúria do corpo, de João Gilberto Noll, a partir dos conceitos de Corpo sem Órgãos e Rizoma propostos pelos filósofos franceses Gilles Deleuze e Félix Guattari. Nesse sentido, objetiva estudar a construção identitária das personagens da referida narrativa, estabelecendo uma associação com essas noções filosóficas, problematizando, sobretudo, a errância das personagens e a linguagem utilizada para a composição da obra. Ao longo da leitura crítica, destacaremos como o texto de Noll nos desafia à construção de sentidos através de uma subjetividade constituída a partir de linhas de fuga, ideia discutida pelos filósofos supracitados. Ao adentrarmos no texto ficcional pelo viés de tais linhas, é possível entender como as personagens percebem e vivem suas experimentações rizomáticas. Desse modo, não se pretende aqui atribuir sentidos fechados à narrativa, mas sugerir que o Corpo sem Órgãos e o Rizoma são características que representam as experiências errantes das personagens encontradas na escrita de Noll. Palavras-chave: Literatura Brasileira Contemporânea. João Gilberto Noll. Identidade. Corpo sem Órgãos. Rizoma. THE RHIZOME AND THE IDEA OF BODY WITHOUT ORGANS IN THE FURY OF THE BODY, BY JOÃO GILBERTO NOLL Abstract: This paper presents a reading of The Fury of the Body, by João Gilberto Noll, based on the concepts of Body without Organs and Rhizome proposed by French philosophers Gilles Deleuze and Félix Guattari. It aims to study the characters’ identity construction, establishing an association with these philosophical notions, exploring, especially, the characters’ wandering nature and the language used in the composition of the work. Throughout this critical reading, emphasis will be given on the way Noll’s text challenge us to construct directions through a subjectivity built from escape lines, a concept defined by Deleuze and Guattari. By reading the narrative through these lenses, it is possible to understand how the characters perceive and live their rhizomatic trials. Thus, the intention here is not to attribute closed meanings to the narrative, but to suggest that the Body without Organs and the Rhizome are features that represent the characters’ wandering experiences in The Fury of the Body. Keywords: Contemporary Brazilian Literature. João Gilberto Noll. Identity. Body without Organs. Rhizome.

scholarly journals What More Do Bodies Know? Moving with the Gendered Affects of Place

2020 ◽  
pp. 1357034X2092301
Author(s):  
Gabrielle Ivinson ◽  
EJ Renold
Keyword(s):  
Body Movement ◽  
The Body ◽  
Felix Guattari ◽  
Mining Communities ◽  
Video Footage ◽  
Slowing Down ◽  
South Wales ◽  
Mining Community ◽  
History Of ◽  
History Of Place

This article focuses on what bodies know yet which cannot be expressed verbally. We started with a problem encountered during conventional interviewing in an ex-mining community in south Wales when some teen girls struggled to speak. This led us to focus on the body, corporeality and movement in improvisational dance workshops. By slowing down and speeding up video footage from the workshops, we notice movement patterns and speculate about how traces of gender body-movement practices developed within mining communities over time become actualised in girls’ habitual movement repertoires. Inspired by the works of Gilles Deleuze, Felix Guattari and Erin Manning, a series of cameos are presented: room dancing; the hold; the wiggle; the leap and the dance of the not-yet. We speculate about relations between the actual movements we could see, the in-act infused with the history of place, and the virtual potential of movement.

Species-specific patterns of the use of burrows of Upogebia Leach, 1814 (Decapoda: Gebiidea: Upogebiidae) by the symbiotic alpheid shrimps Stenalpheops anacanthus Miya, 1997 and Athanas japonicus Kubo, 1936 (Decapoda: Caridea: Alpheidae) as revealed by laboratory quantification

2020 ◽  
Author(s):  
Yumi Henmi ◽  
Gyo Itani
Keyword(s):  
Evolutionary Biology ◽  
Evolutionary History ◽  
The Body ◽  
Symbiotic Relationship ◽  
Use Patterns ◽  
Species Specific ◽  
Burrow Use ◽  
First Time ◽  
The Relationship ◽  
Observation Period

Abstract Many alpheid shrimps live symbiotically on the body surface or inside the bodies of other invertebrates, while others use burrows made by other animals. The burrow symbiosis of alpheid shrimps is poorly studied in the context of ecology, probably because the cryptic infaunal nature of the relationship is hard to observe. The limited knowledge of the pattern of burrow use by alpheid shrimps leaves a gap in our understanding of their evolutionary history. We described and compared the behavior of Stenalpheops anacanthus  Miya, 1997 and Athanas japonicus  Kubo, 1936, two alpheid species living symbiotically in the burrows of the same host, Upogebia yokoyai  Makarov, 1938. We found that both alpheid species used U. yokoyai burrows in aquaria, but their burrow use patterns were quite different. The average time taken for S. anacanthus to enter the burrow for the first time was much shorter (1 min) than that of A. japonicus (13 min). Subsequently, S. anacanthus made longer use of the burrow (80% of the observation period) than A. japonicus (49%). The tail-first exit frequency, which may indicate a sudden expulsion from the burrow by the host, was more frequent in A. japonicus (25%) than in S. anacanthus (7%). Such differences could be attributed to the nature of the symbiotic relationship, obligate in S. anacanthus but facultative in A. japonicus. Because of the diversity of symbiotic lifestyles, there is considerable potential to study the ecology and evolutionary biology of burrow-symbiotic alpheids further.

scholarly journals O CORPO EM COSTURA, CORPO EM ABERTURA. THE COSTURED BODY: FISSURING THE BOOK OF SCIENCES.

RevistAleph ◽  
2018 ◽  
Author(s):  
Dhemersson Warly Santos Costa ◽  
Maria dos Remédios De Brito
Keyword(s):  
Gilles Deleuze ◽  
The Body ◽  
Felix Guattari ◽  
Science Textbook

ResumoO ensaio pretende tecer linhas reflexivas acerca o corpo através de um exercício de criação imagética de corpos (im)possíveis costurados sobre a superfície do livro didático de ciências. A produção das imagens costuradas parte da seguinte questão: é possível criar um corpo para além do discurso biológico no livro didático? Tomamos como aliança conceitual a filosofia da diferença de Gilles Deleuze e Félix Guattari, na construção do mote argumentativo: é possível pensar e produzir um corpo para si que percorra outras linhas, aquelas que se chamam molares, moleculares e linhas de fuga. Um corpo atravessado pelo desejo, sendo este a instância produtiva que o rasga, desfazendo formas e costurando outras composições e arranjos. AbstractThe essay intends to weave reflective lines about the body through an imaging exercise of possible (im) bodies sewn onto the surface of the science textbook. The production of the stitched images starts from the following question: is it possible to create a body beyond the biological discourse in the textbook? We take as a conceptual alliance the philosophy of difference between Gilles Deleuze and Félix Guattari, in the construction of the argumentative motto: it is possible to think and produce a body for itself that runs along other lines, those that are called molars, molecular and lines of escape. A body crossed by desire, this being the productive instance that rips it, undoing forms and sewing other compositions and arrangements.

scholarly journals A Queer Aesthetic: Identity in Kurosawa Kiyoshi's Horror Films

2018 ◽  
Vol 22 (3) ◽  
pp. 448-464
Author(s):  
Seán Hudson
Keyword(s):  
Everyday Life ◽  
Personal Identity ◽  
Gilles Deleuze ◽  
Judith Butler ◽  
The Body ◽  
Horror Films ◽  
Felix Guattari ◽  
Susan Sontag ◽  
And Performance

Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially competent in not only representing ontological tensions of this kind within their narratives, but also in manifesting these tensions so that they are made viscerally available to the viewer as affect. To understand how this is achieved, I draw on the work of Susan Sontag, Judith Butler, and Gilles Deleuze and Félix Guattari, among others, to articulate how a stylistic system, or aesthetic, is developed across these films, and what techniques contribute to its production. I find that key components of this aesthetic include images of touch and performance, the transgression of bodily boundaries, and what Margrit Shildrick calls an “erotics of connection” between bodies.

scholarly journals From Odd Encounters to a Prospective Confluence: Dance-Philosophy

2015 ◽  
Vol 1 (1) ◽  
pp. 7 ◽  
Author(s):  
Bojana Cvejić
Keyword(s):  
Concept Formation ◽  
Body Movement ◽  
The Body ◽  
Western Philosophy ◽  
Ontological Status ◽  
Meaning Production ◽  
The Status ◽  
General Ontology ◽  
The Relationship ◽  
Point Of Departure

This text inquires into the relationship between Western philosophy and Western theatre dance from their odd encounters in modernity to the current affiliations between contemporary choreographic poetics, critical theory and contemporary philosophical thought. The point of departure for the inquiry is a discussion of the three problems that have structured the historically vexed relationship between dance and philosophy: dance’s belated acquisition of the status of an art discipline, the special ontological status of the work of dance, and the limits of dance’s meaning-production set by the theme of bodily movement’s “ephemerality” and “disappearance.” After critically examining the approaches of Alain Badiou and Jacques Rancière in whose philosophies dance is relegated to a metaphor or, even worse, to an ahistorical conduit for a general ontology, the author makes a case for another movement of thought that arises in dance practice and is at the same time philosophical, rooted in Spinoza’s (and Deleuze’s) principle of expression. Demonstrating how choreographers, like Xavier Le Roy and Jonathan Burrows, create by “posing problems,” Cvejić presents a theory of “expressive concepts,” whereby choreography contributes to a philosophical rethinking of the relationship between the body, movement and time. This points to the new prospects of a kind of “dance-philosophy,” in which the epistemic hierarchy is reversed: the stake is no longer in what philosophy could do for dance, but how an experimental, radically pragmatic orientation in dance offers a practical framework for theorizing perception, concept-formation and other philosophical issues.

SENAM OTAK BERBASIS GERAK TRADISI KOORDINASI ASIMETRIS BAGI ANAK BERKEBUTUHAN KHUSUS

Sarwahita ◽  
2017 ◽  
Vol 14 (01) ◽  
pp. 10-20
Author(s):  
Dinny Devi Triana ◽  
Eddy Husni
Keyword(s):  
Special Needs ◽  
Body Movement ◽  
Educational Process ◽  
The Body ◽  
Special Needs Children ◽  
Balance Exercise ◽  
Mind And Body ◽  
The Mind ◽  
The Relationship ◽  
The Brain

ABSTRACT: Brain gymnastic is a collection of simple movements that aim to connect or unite the mind and body through kinesiology educational process. Kinesiology is a science that studies body movement and the relationship between muscle and posture to brain function. The motion of the limbs that is emphasized in brain gymnastics is a cross movement. The movement moves the extremes on one side of the body intersecting the midline and coordinates with the extremes on the other side of the body so that both hemispheres are used at the same time. Gymnastics of the brain in special needs children (simple children needs) as a child slow or slow (retarded) that will never succeed in school as children in general. Thus the basis of the need for bridal gymnastics is devoted to special needs of children who have been learning difficulties or concentrating disorders, and do not have a good focus on observing everything, so there needs to be a drill or balance exercise of coordination and asymmetric movements or crosses to optimize focus and his concentration.   ABSTRAK: Senam otak merupakan kumpulan gerakan-gerakan sederhana yang bertujuan menghubungkan atau menyatukan akal dan tubuh melalui proses edukasi kinesiologi. Kinesiologi merupakan suatu ilmu yang mempelajari gerakan tubuh dan hubungan antara otot dan postur terhadap fungsi otak. Gerak anggota tubuh yang ditekankan pada senam otak adalah gerakan menyilang. Gerakan tersebut menggerakkan ekstremitas pada satu sisi tubuh menyilang garis tengah dan berkoordinasi dengan ekstremitas pada sisi tubuh yang lain sehingga kedua hemisfer dipergunakan pada saat yang bersamaan. Senam otak pada anak kebutuhan khusus (special needs children) secara simple sebagai anak yang lambat (slow) atau mengalami gangguan (retarded) yang tidak akan pernah berhasil di sekolah sebagaimana anak-anak pada umumnya. Dengan demikian dasar kebutuhan adanya senam otak dikhususkan pada anak kebutuhan khusus yang mengalami kesulitan belajar atau gangguan berkonsentrasi, dan tidak memiliki fokus yang baik dalam mengamati segala hal, sehingga perlu adanya drill atau latihan keseimbangan gerak-gerak koordinasi dan asimetris atau menyilang untuk mengoptimalkan fokus dan konsentrasinya.

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