Unravelling the body without organs in Body Memory

2014 ◽  
Vol 4 (2) ◽  
pp. 167-170
Author(s):  
Nicole Richter
Keyword(s):  
Gilles Deleuze ◽  
Primary Source ◽  
The Body ◽  
Body Memory ◽  
Body Without Organs

The primary source of terror in Body Memory emerges from the lack of materiality underneath the unravelling body. Using Gilles Deleuze and Felix Guattari’s concept of the ‘body-without-organs’ this article discusses the biopolitical implications of representing the body as an assemblage of string.

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 How Do You Make Yourself a Theatre without Organs? Deleuze, Artaud and the Concept of Differential Presence

2009 ◽  
Vol 34 (3) ◽  
pp. 243-255 ◽  
Author(s):  
LAURA CULL
Keyword(s):  
Gilles Deleuze ◽  
The Body ◽  
The Self ◽  
Antonin Artaud ◽  
Key Concepts ◽  
Body Without Organs ◽  
Radio Play

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.

Corporeal Creations in Experimental Screendance

2016 ◽  
pp. 320-348
Author(s):  
Sophie Walon
Keyword(s):  
Michel Foucault ◽  
Gilles Deleuze ◽  
Body Representation ◽  
The Body ◽  
Political Issues ◽  
Political Processes ◽  
Traditional Notion ◽  
The World ◽  
Body Without Organs

This chapter examines experimental screendances that disrupt the traditional notion of the body by constructing bizarre corporealities. The chapter analyzes films that display choreo-cinematic experimentations on body representation, such as those of Thierry De Mey, Laurent Goldring, Antonin De Bemels, Wim Vandekeybus, and Pierre Yves Clouin. These films present unconventional bodies that appear in turns animalistic, oversexualized (or differently sexualized), pathological, monstrous, and unidentifiable, undergoing all sorts of transformations and metamorphoses, thus resisting sociocultural, economic, and political processes of standardization of the body. The chapter argues that these screendance bodies are linked to the philosophical and political conceptualizations of the body by Maurice Merleau-Ponty (“openness to the world,” “corporeality”), Michel Foucault (“biopowers,”), and Gilles Deleuze (“body without organs,” “becomings,” “de-hierarchization of the body”). The chapter develops a reflection on screendance bodies, emphasizing that certain screendances also suggest philosophical and political issues that are embedded in their subversive representations of the body.

High Off the Page

Janus Head ◽  
2004 ◽  
Vol 7 (1) ◽  
pp. 54-72
Author(s):  
Erik Mortenson ◽  
Keyword(s):  
Drug Use ◽  
Gilles Deleuze ◽  
The Body ◽  
Jack Kerouac ◽  
Temporal Perception ◽  
Allen Ginsberg ◽  
Drug Experience ◽  
Body Without Organs ◽  
Emotional Effects

This article explores attempts by Jack Kerouac and Allen Ginsberg to transcribe their drug experiences onto the written page. Utilizing both Maurice Merleau-Ponty’s work on intersubjective communication and Gilles Deleuze and Felix Guattari’s conception of the “Body Without Organs,” it argues that by writing “through the body,” Kerouac and Ginsberg are able to transmit the physical and emotional effects of the drug experience to the reader via the medium of the text. The reader thus receives not just an objective account of the drug experience, but becomes privy to the alterations in temporal perception and intersubjective empathy that drug use inaugurates.

scholarly journals Deleuze y Zubiri… en torno a una lógica de la impresión*

2007 ◽  
Vol 12 ◽  
Author(s):  
Ricardo A. Espinoza Lolas
Keyword(s):  
Gilles Deleuze ◽  
The Body ◽  
Body Without Organs

RESUMENEste artículo es un intento de pensar lo que es el cuerpo a la luz de las filosofías de Gilles Deleuze y de Xavier Zubiri. Ambos pensadores han sido muy radicales en sus posiciones respecto al papel del sentir. A veces es más conocido, para algunos, el pensamiento deleuziano en torno al cuerpo y las sensaciones, pero la reflexión zubiriana es también una filosofía del cuerpo que a veces no ha sido atendida en su profundidad. Además, vemos que ambos pensadores tienen muchos puntos en común; uno de ellos es el denominado «Cuerpo sin órganos». Desde esta categoría deleuziana se indicará la proximidad con la filosofía zubiriana y con ello la importancia que cobra el cuerpo en una filosofía para los tiempos actuales.PALABRAS CLAVEDELEUZE, ZUBIRI, LÓGICA, IMPRESIÓN, SENSACIÓN, CUERPO SIN ÓRGANOS, INTELIGENCIA SENTIENTE.ABSTRACTThis article attempts to think what the body is from the perspective of the philosophy of Gilles Deleuze and also from Xavier Zubiri. Both thinkers have been totally radicals in their positions concerning the role of sensations. It may sound more natural, for some, to associate Deleuze’s thought on body and sensations than that of Zubiri; but we have to acknowledge that the latter’s thought is also a philosophy of the body and, therefore, we shall attend it in its whole depth. Moreover, we have to recognize that both thinkers have lots of common points, one of them the so-called «Body without organs». From this deleuzian category will be indicated the proximity between deleuzian and zubirian philosophy; and with that the importance that acquires the body in a philosophy worth of our times.KEY WORDSDELEUZE, ZUBIRI, LOGIC, IMPRESSION, SENSATION, BODY WITHOUT ORGANS, SENTIENT INTELLIGENCE

scholarly journals Fold over fold: Musikk og filosofi som transformativ praksis

2020 ◽  
pp. 313-328
Author(s):  
Torbjørn Eftestøl
Keyword(s):  
Embodied Cognition ◽  
Common Ground ◽  
Gilles Deleuze ◽  
The Body ◽  
Human Consciousness ◽  
Way Of Life ◽  
Deleuze And Guattari ◽  
Body Without Organs ◽  
Latent Potential ◽  
Point Of Departure

By taking as a point of departure quotations from the pianist Alfred Brendel, the composer Helmut Lachenmann and the philosopher Gilles Deleuze, I discuss music and philosophy as transformative practices. I first develop some of the implications in what Brendel, Lachenmann and Deleuze say, and show how it is possible to find connections between these characterizations of what music and listening involve. Based on this, I argue that they all point to a potential that musical practice harbors with regard to an expansion of cognition and consciousness. I then briefly present Hadot’s work on philosophy as a way of life and Deleuze’s conception of thinking as movement on the plane of immanence. On this background I argue that both music and thinking share a common ground, and that both can bring about an encounter with and elaboration of intensive forces. This experience, if cultivated and researched, can release latent potential in human consciousness and transform embodied cognition to what Deleuze and Guattari call “the body without organs”.

Becoming an Egg Or: Migrating Body Parts in Some Works by William Forsythe

2007 ◽  
Vol 39 (S1) ◽  
pp. 95-99
Author(s):  
Stefan Hölscher
Keyword(s):  
Gilles Deleuze ◽  
The Body ◽  
Felix Guattari ◽  
Body Parts ◽  
Body Without Organs ◽  
Historical Discourses

William Forsythe has remarked that the forms of ballet exist as a body of ideas. Gilles Deleuze and Félix Guattari write in A Thousand Plateaus that the body without organs is not an enemy organism but rather is another organization of the organs. The paper goes on to discuss isometry, transfer of energy, and anatomical migration and the concept of migration as a metaphor in the context of various historical discourses about the body.

The Common as Body Without Organs

2010 ◽  
Vol 4 (supplement) ◽  
pp. 46-63
Author(s):  
Vidar Thorsteinsson
Keyword(s):  
The Body ◽  
Fundamental Importance ◽  
Recent Book ◽  
Social Production ◽  
Deleuze And Guattari ◽  
Political Thinking ◽  
Conceptual Apparatus ◽  
Body Without Organs ◽  
Social Factory ◽  
The Common

The paper explores the relation of Michael Hardt and Antonio Negri's work to that of Deleuze and Guattari. The main focus is on Hardt and Negri's concept of ‘the common’ as developed in their most recent book Commonwealth. It is argued that the common can complement what Nicholas Thoburn terms the ‘minor’ characteristics of Deleuze's political thinking while also surpassing certain limitations posed by Hardt and Negri's own previous emphasis on ‘autonomy-in-production’. With reference to Marx's notion of real subsumption and early workerism's social-factory thesis, the discussion circles around showing how a distinction between capital and the common can provide a basis for what Alberto Toscano calls ‘antagonistic separation’ from capital in a more effective way than can the classical capital–labour distinction. To this end, it is demonstrated how the common might benefit from being understood in light of Deleuze and Guattari's conceptual apparatus, with reference primarily to the ‘body without organs’ of Anti-Oedipus. It is argued that the common as body without organs, now understood as constituting its own ‘social production’ separate from the BwO of capital, can provide a new basis for antagonistic separation from capital. Of fundamental importance is how the common potentially invents a novel regime of qualitative valorisation, distinct from capital's limitation to quantity and scarcity.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

Simple vacuum cup to identify the primary myofascial restriction: the root cause of pain elsewhere

2021 ◽  
Vol 14 (2) ◽  
pp. e240214
Author(s):  
Lenny Thinagaran Vasanthan ◽  
Manigandan Chockalingam
Keyword(s):  
Musculoskeletal Pain ◽  
Simple Technique ◽  
Primary Source ◽  
The Body ◽  
Detailed History ◽  
Root Cause ◽  
Body Tissues ◽  
Cause Of Pain ◽  
Musculoskeletal Examination ◽  
Gold Standards

Identification of the primary source of pain determines the success of musculoskeletal pain management. A detailed history and physical examination are the current gold standards for identifying musculoskeletal pain source in day-to-day clinical practice. This process, at times, may potentially result in inadequate/inappropriate identification of the pain source. In this case report, we present the usefulness of a simple and inexpensive vacuum cup. We found that this accurately identified the primary pain source, distant from and unrelated to the site of pain presentation in a 30-year-old man with back pain. Routine use of this simple technique in conjunction with the regular musculoskeletal examination may better identify primary restrictions in the body tissues. Based on our experience, we propose that this approach has the potential to offer better outcomes in the treatment of musculoskeletal pain in the future.

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