In the Threshold

2012 ◽  
Vol 5 (4) ◽  
pp. 449-458 ◽  
Author(s):  
Lisa A. Mazzei ◽  
Alecia Y. Jackson
Keyword(s):  
Collaborative Work ◽  
The Other ◽  
Deleuze And Guattari ◽  
Individual Subject ◽  
Collaborative Project ◽  
Working Together ◽  
Way Of Thinking ◽  
The Individual ◽  
A Site

In this paper, we describe our encounters in and passes through the figuration of the threshold as producing writing between-the-two: or, loss of the individual subject. We describe how in the threshold, we meet in that in-between space, a space of shared deterritorialization in which we constitute one another. Also, we describe writing between-the-two in the threshold as a site of embodiment, of affect. In thinking of how to articulate our way of thinking and writing together as between-the-two and as different than a collaborative project where two “I”s contribute pieces both with and independent of the other, we take our cue from Ken Gale and Jonathan Wyatt's (2009) Between the Two. In this book, they articulate a way of thinking and writing inspired by Deleuze and Guattari's collaborative work as that which is not a working together, but a working in the gap “between the two” (Deleuze & Parnet, 1987/2002, p. 13). This spark of creativity in the gap is both like and unlike what we will explain in this article. Like Gale and Wyatt, we lean on figurations and concepts in the writings of Deleuze and Guattari as a referent; however, our between-the-two is pursued more deliberately through a materialist knowing in being that produces our becoming with and in a digital threshold.

scholarly journals La cuentística erótica de Jaramillo Levi a través de sus máquinas deseantes

LETRAS ◽  
2011 ◽  
pp. 147-161
Author(s):  
Fátima R. Nogueira
Keyword(s):  
Short Stories ◽  
Human Body ◽  
Driving Forces ◽  
The Other ◽  
Death Instinct ◽  
Deleuze And Guattari ◽  
Sexual Drive ◽  
The Subject ◽  
The Individual ◽  
The Relationship

Se estudia la narrativa de Jaramillo Levi centrada en la relación entre el erotismo y la muerte, desde el intercambio de dos fuerzas que actúan en la producción del deseo: una, de naturaleza libidinosa e inconsciente, la otra de filiación social. Estos relatos exploran el vínculo entre las pulsiones sexuales y el instinto de la muerte revelando el exceso y la violencia ocultos en el erotismo; además, plasman la magnitud del deseo que al exceder los límites del cuerpo y del individuo deviene una experiencia de la sexualidad inhumana reafirmada sólo por un campo saturado de intensidades y vibraciones. Partiendo de la teoría lacaniana del deseo, y de conceptos de Deleuze y Guattari, en los relatos tal encuentro de fuerzas objetiviza el sujeto y cuestiona la noción antropomórfica de sexualidad. This study deals with Jaramillo Levi’s short stories centered on the relationship between eroticism and death, examining the exchange of two driving forces which create desire. The nature of one of these forces is unconscious and libidinous while the other is social. These stories explore the link between sexual drive and the death instinct, disclosing overindulgence and violence hidden behind eroticism. In addition, they depict the magnitude of desire, which upon exceeding the boundaries of the human body and the individual, becomes an experience of inhuman sexuality that can reaffirm itself only in a field permeated with intensity and vibrations. Considering Lacan’s theory of desire and other concepts from Deleuze and Guattari, the exchange of forces in these stories objectifies the subject and questions the anthropomorphic notion of sexuality.

Queer Structures of Religious Feeling: What Time Is Now?

2017 ◽  
Author(s):  
Ann Pellegrini
Keyword(s):  
The Body ◽  
The Other ◽  
Individual Subject ◽  
Psychoanalysis And Religion ◽  
Time Out ◽  
Religious Feeling ◽  
The Times ◽  
The One ◽  
The Individual ◽  
Queer Temporality

This essay asks what psychoanalysis and religion might have to say to each other in view of Freud’s secular aspirations and queer theory’s temporal turn. Both queer temporality and psychoanalysis offer resources for understanding the multiple ways time coats, codes, and disciplines the body in secular modernity. This is so even though psychoanalysis is one of these disciplines. Nevertheless, the times of psychoanalysis are multiple. On the one hand, psychoanalysis quite frequently lays down a teleology in which the individual subject matures along a set pathway. On the other hand, this developmental imperative is at profound odds with psychoanalysis’s capacity to make room for the co-existence of past and present in ways that confound secular time’s forward march. This latter recognition—co-temporality—may even lay down routes for the cultivation of “counter-codes” (Foucault’s term), ways of living and experiencing and telling time out of sync with the linear logics of what José Muñoz has called “straight time.”

scholarly journals Frontline Professionals Performing Collaborative Work with Low-Income Families: Challenges across Organizational Boundaries

2020 ◽  
Vol 11 (1) ◽  
pp. 66-85
Author(s):  
Torunn Alise Ask ◽  
Solveig Sagatun
Keyword(s):  
Low Income ◽  
Collaborative Work ◽  
Interagency Collaboration ◽  
Organizational Boundaries ◽  
Departure Point ◽  
New Ways Of Working ◽  
Parental Obligations ◽  
Working Together ◽  
Low Income Families ◽  
The Individual

This article discusses certain challenges relating to interagency collaboration between the Norwegian Labour and Welfare Administration (NAV) and Child Welfare Services (CWS). We have asked what obstacles to holistic work with low-income families who receive measures from NAV and CWS simultaneously can be identified. The departure point is collaboration on a local project at the municipal level. The differences between the views of the individual services (and the mandates based on these views) with regard to parental obligations have proved challenging. Using the theory of institutional logic, we have explored how different logics have influenced these services’ approaches to parenthood and the significance of these influences for interagency collaboration. We have also investigated how caseworkers in the two services have managed to create reflective spaces for negotiating and bridging various understandings to create new ways of working together. In addition to collecting and analysing data, our task as researchers has been to facilitate joint working processes in the project. The article is based on interviews with caseworkers from both services, discussions during two workshops, and a subsequent dialogue seminar with employees from the two services.  

scholarly journals Artistic Genius versus the Hanse Canon from the Late Middle Ages to the Early Modern Age in Tallinn

2020 ◽  
Vol 20 ◽  
pp. 59-80
Author(s):  
Juhan Maiste
Keyword(s):  
Middle Ages ◽  
The Other ◽  
15Th Century ◽  
Late Middle Ages ◽  
Wide Range ◽  
Working Together ◽  
History Of ◽  
The Veil ◽  
The One ◽  
The Individual

In the article, the author examines one of the most outstanding andproblematic periods in the art history of Tallinn as a Hanseatic city,which originated, on the one hand, in the Hanseatic tradition andthe medieval approach to Gothic transcendental realism, and onthe other, in the approach typical of the new art cities of Flanders,i.e. to see a reflection of the new illusory reality in the pictures. Acloser examination is made of two works of art imported to Tallinnin the late 15th century, i.e. the high altar in the Church of the HolySpirit by Bernt Notke and the altarpiece of Holy Mary, whichwas originally commissioned by the Brotherhood of Blackheadsfor the Dominican Monastery and is now in St Nicholas’ Church.Despite the differences in the iconography and style of the twoworks, their links to tradition and artistic geography, which in thisarticle are conditionally defined as the Hanse canon, are apparentin both of them.The methods and rules for classifying the transition from theMiddle Ages to the Modern Era were not critical nor exclusive.Rather they included a wide range of phenomena on the outskirtsof the major art centres starting from the clients and ending with the semantic significance of the picture, and the attributes that wereemployed to the individual experiences of the different masters,who were working together in the large workshops of Lübeck, andsomewhat later, in Bruges and Brussels.When ‘reading’ the Blackheads’ altar, a question arises of threedifferent styles, all of them were united by tradition and the waythat altars were produced in the large workshops for the extensiveart market that stretched from one end of the continent to the other,and even further from Lima to Narva. Under the supervision ofthe leading master and entrepreneur (Hans Memling?) two othermasters were working side by side in Bruges – Michel Sittow, whowas born in Tallinn, and the Master of the Legend of Saint Lucywere responsible for executing the task.In this article, the author has highlighted new points of reference,which on the one hand explain the complex issues of attributionof the Tallinn Blackheads’ altar, and on the other hand, placethe greatest opus in the Baltics in a broader context, where, inaddition to aesthetic ambitions, both the client and the workshopthat completed the order, played an extensive role. In this way,identifying a specific artist from among the others would usuallyremain a matter of discussion. Tallinn was a port and a wealthycommercial city at the foregates of the East where it took decadesfor the spirit of the Renaissance to penetrate and be assimilated.Instead of an unobstructed view we are offered uncertain andoften mixed values based on what we perceive through the veil ofsemantic research.

scholarly journals Debussy y Monet en el concierto "La danza de los colores". Intervención interdisciplinar de Música y Pintura. Grado en Bellas Artes TITLE: Debussy and Monet in the concert "The dance of the colours". Interdiciplinary music and painting intervention...

2019 ◽  
Vol 0 (16) ◽  
Author(s):  
Carmen Martínez Samper
Keyword(s):  
Collaborative Work ◽  
Claude Debussy ◽  
Joint Work ◽  
Water Lily ◽  
Collaborative Project ◽  
Starting Point ◽  
Working Together ◽  
The Subject ◽  
Claude Monet

Romper la dinámica habitual del aula para mejorar el rendimiento de los estudiantes e incentivar su espíritu de aprendizaje y su creatividad nos lleva a aceptar retos para generar un aprendizaje significativo. En este artículo abordamos una experiencia multisensorial que se organizó junto al Conservatorio Profesional de Música de Teruel (España). Las artes visuales colaboraban como invitadas en el concierto homenaje al pianista y compositor Claude Debussy (en el centenario de su muerte) y para ello se diseñó una intervención mural. La asignatura de Color I, del área de pintura, trabajó el proyecto a partir del repertorio seleccionado, tomando como punto de partida la sinestesia, que nos servía de puente entre ambas formas de expresión y creación artística. De esta forma, música y pintura se conjugaban en una obra conjunta dentro de un proyecto colaborativo que se construía simultáneamente. En nuestra propuesta elegimos a Claude Monet, a sus pinturas de nenúfares, para recrear un estanque en cuatro paneles murales que serían pintados in situ por los estudiantes del primer curso. Al trabajar de forma conjunta se proyectó un trabajo colaborativo atendiendo a la percepción sensorial, a la destreza técnica, y como punto de unión entre ambas disciplinas, los colores y los sonidos que invitaban a sentir y percibir tonos, brillo y armonía en una actividad de innovación. La intervención mural y la transformación del espacio permitieron que las notas de color y el sonido danzasen dentro de una misma melodía, metáfora de un paisaje sensorial creado sobre el escenario.ABSTRACTBreaking the usual dynamics of the classroom to improve students´ performance and to encourage their learning spirit and creativity leads us to accept challenges to generate meaningful learning. In this article we approach a multisensory experience which was organized together with the Professional Conservatory of Music of Teruel (Spain). Visual Arts collaborate as guests in a concert-tribute to the pianist and composer Claude Debussy (on the centenary of his death) and, for this, a mural intervention was designed. The subject of Color I, from the Painting Area, developed a project from the selected repertoire, taking as a starting point synesthesia, which acted as a bridge between both forms of artistic expression and creation. In this way, music and painting were conjugated in a joint work within a collaborative project that was being constructed simultaneously. In our proposal, we chose Claude Monet and his water lily paintings, to recreate a pond in four mural panels that would be painted in situ by the first course’ students. Working together, we projected a collaborative work based in sensory perception, the technical skill, and as a point of union between both disciplines, the colors and sounds, which invited to feel and perceive tones, brightness and harmony in an activity of innovation. The mural intervention and the transformation of the space allowed the notes of color and sound to dance within the same melody, metaphor of a sensorial landscape created on the stage. 

scholarly journals The translaborative case for a translational hermeneutics

Target ◽  
2020 ◽  
Vol 32 (2) ◽  
pp. 261-281
Author(s):  
Alexa Alfer
Keyword(s):  
Deleuze And Guattari ◽  
Individual Subject ◽  
Reading And Writing ◽  
Stepping Stone ◽  
The Individual ◽  
The Relationship

Abstract This paper takes the notion of translaboration as a stepping stone for an exploration of some of the recent debates about translational hermeneutics. In doing so, it aims to expand translaboration’s focus beyond concrete collaborations between multiple translators, or authors and translators, and to think about, and theorise, translaboration as a possible means of framing textual agents reading and writing each other within texts. The argument presented draws on both Hans-Georg Gadamer’s and Paul Ricoeur’s conceptions of the individual subject as interpretative agent, and of translation as an object of philosophical enquiry, and adopts the concept of a “hermeneutics of decipherment” (Maitland 2017, 38) as an alternative to dialogic models of understanding and translating. Similarly, the relationship between philosophical and translational hermeneutics is interrogated and recast as a translaborative endeavour rather than as an immediately reciprocal dialogue. Translaboration, this paper argues, thus also actively furthers the move away from what Blumczynski (2016, 29) calls “an arborescent epistemological paradigm” of interdisciplinarity and contributes to animating a transdisciplinarity that is fundamentally “rhizomatic” (ibid.; see Deleuze and Guattari 2004) in nature.

SUJEITO SEM IDENTIDADE EM EMMANUEL LEVINAS

2012 ◽  
Vol 39 (123) ◽  
pp. 107
Author(s):  
Silvestre Grzibowski
Keyword(s):  
Emmanuel Levinas ◽  
The Self ◽  
The Other ◽  
Western Philosophy ◽  
The Subject ◽  
Way Of Thinking ◽  
The Individual

O presente estudo examina a partir de Emmanuel Levinas o sujeito sem identidade. Segundo o pensador, o sujeito da filosofia ocidental foi constituído a partir do ego. A racionalidade apoderou-se desse conceito e assim arquitetou o edifício filosófico. Só que esse conceito anula completamente a subjetividade. Porque a ditadura da razão não possibilita pensar de outro modo, pensar diferente. Diante disso, Levinas sustenta a tese do sem identidade, ou seja, o indivíduo sem identidade. O ponto central será a subjetividade, no entanto, não a subjetividade como concebe a filosofia ocidental. A subjetividade parte da sensibilidade do sujeito, sensibilidade que é aproximação, exposição ao outro. Aproximação que é vulnerabilidade e responsabilidade infinita para com o outro.Abstract: Following Emmanuel Levinas, this study examines the subject without identity. According to the thinker, in Western philosophy, the subject has been built upon the ego. The rationality took hold of this concept and devised the philosophical edifice accordingly. However, this concept completely nullifies subjectivity, since the dictatorship of reason does not allow for a different way of thinking. In view of this, Levinas maintains the thesis of the self with no identity, that is, the individual without identity. The focus will be on subjectivity, although conceived differently than in Western philosophy. Subjectivity here derives from the subjectÊs sensitivity, which is approach to the other and exposure to the other, and therefore vulnerability and infinite responsibility towards others. 

Presentation by Order of Difficulty of Test Tasks to Persons with Aphasia

1978 ◽  
Vol 21 (2) ◽  
pp. 350-360 ◽  
Author(s):  
Donna L. Dumond ◽  
James C. Hardy ◽  
Ann A. Van Demark
Keyword(s):  
The Other ◽  
Individual Subject ◽  
Test Form ◽  
Communicative Ability ◽  
Significant Difference ◽  
The Individual

To determine the effects of arranging test tasks by order of difficulty, two test forms were administered to each of 20 patients with aphasia. The two test forms were split halves of the Porch Index of Communicative Ability. One of the test forms, Form EH, was presented to each patient with the subtests arranged for the individual subject in an order from easy to hard. The other test form, Form HE, was administered to each subject in the hard-to-easy order. There was no significant difference between the performance of the subjects on the Form EH and their performance on Form HE.

Co-navigating Migrant Reception Services: Engaging Practices of Collaborative Anthropology in Emilia-Romagna, Italy

2021 ◽  
Vol 80 (3) ◽  
pp. 224-233
Author(s):  
Federica Tarabusi
Keyword(s):  
Collaborative Work ◽  
Political Engagement ◽  
The Other ◽  
Support Program ◽  
Institutional Constraints ◽  
Social Policies ◽  
Social Actors ◽  
Italian Regions ◽  
A Site ◽  
Multicultural Policies

Drawing on a support program for foreign women, this article discusses anthropological collaboration with local services for migrants in one of the Italian regions most advanced in terms of multicultural policies. Often treated as a pre-given good, collaborative work is here revealed as a site for exploring ways of practicing anthropology with professionals engaged in migrant reception services. On one hand, I examine the potential of collaborative anthropology to interrogate workers’ taken-for-granted assumptions as well as the moral implications and institutional constraints that shape their ambiguous encounters with female “Others,” perceived as both passive victims and manipulative users. On the other hand, I highlight the meaningful position the anthropologist gains to capture the multi-faceted worlds that social actors navigate in their efforts to negotiate blurred rights in a shifting, contested arena. Moving beyond a narrow conception of applied work, I conclude by casting collaborative anthropology as a call for renewed reflection on political engagement in social policies but also as a challenging opportunity for further investigations of local reception services.

Politics of Togetherness in Dance: The Affective Persistence of somatic Collectivity under post-Fordism.

2021 ◽  
Vol 6 (4) ◽  
pp. 10-27
Author(s):  
Noyale Colin
Keyword(s):  
Social Environment ◽  
Political Activism ◽  
Western Society ◽  
Critical Potential ◽  
The Social ◽  
Working Together ◽  
And Performance ◽  
The Individual ◽  
A Site ◽  
Contemporary Western Society

The last decade of scholarship in dance has produced a number of literary contributions which account for the need to theorize the radical potential of dance as a site for political activism in the context of global social and economic crises. As a practitioner, teacher and theorist in dance and performance, working in a UK university, I am interested in exploring the potential of somatics to resist a seemingly utilitarian incorporation of somatic principles into the agenda of neo-liberalism under post-Fordist conditions. In this article, I refer to somatics as an umbrella term to discuss practices related to the dance field including protests, walks, flashmobs and choreographic explorations of performative participation. While these practices might not be widely recognized as somatic practices, I argue that all operate at a somatic level and point to an ever-shifting relationship between the individual, the collective and the social environment. I reflect on a number of theoretical ideas pertaining to the relations between the development of somatics and the intensification of cultural capitalism in contemporary western society. In doing so, I aim to theorize somatics as critical and political practices of collective forms of being and working together. Drawing on instances of collective embodiment, I argue for the politicization of somatic practices as it relates to ideas of affect, ethics and time. I suggest that embodied expressions of collectivity as politicized somatics can develop valid tactics to counter what I observe to be a mimetic phenomenon between dance practices and capitalism. A situation that has been only exacerbated by the Covid 19 pandemic. I propose the concept of somatic collectivity as a way to describe the critical potential of collective embodiment found in dance and its expanded field of practices.

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