scholarly journals Art(e)Ciência: Quando um Biólogo Devém Criações na Floresta

2021 ◽  
Vol 6 (10) ◽  
pp. 119
Author(s):  
Carlos Augusto Silva e Silva ◽  
Maria Dos Remédios de Brito
Keyword(s):  
Gilles Deleuze ◽  
The Body ◽  
Felix Guattari ◽  
Art And Science ◽  
Visual Material ◽  
Starting Point ◽  
The City

ResumoInspirado na filosofia de Gilles Deleuze e Félix Guattari, o texto tem como objetivo problematizar um entre art(e)ciência a partir de mobilizações de um biólogo-artista com experimentações performáticas do corpo na e com a floresta, aglutinados pelas seguintes questões: como a arte e a biologia se cruzam com/na floresta? Que vazamentos escorrem desse entre art(e)ciência? As materialidades imagéticas da pesquisa foram produzidas na caverna/cachoeira do km 30, localizada no Ramal Novo Xingu, a 30 km da cidade de Altamira-PA e, também, na caverna da Planaltina, 3 km da cidade de Brasil Novo-PA. Finalmente, serão apresentadas produções estéticas do biólogo e seus encontros que utilizaram dos elementos encontrados naqueles locais como força inspiradora para fazer acontecer outros modos sentir a vida no entre biologia e arte, possibilitando biólogos, artistas, professores, alunos e pesquisadores outros encontros vitais.AbstractInspired by Giles Deleuze and Féliz Guattari's philosophy, the text aims to problematize a between Art and Science by the starting point of a Biologist-artist's mobilizations with performatic experiments of the body in and with the forest, agglutinated by the following questions: how does Art and Science cross with/in the forest? What leaks drip from this between art and Biology? The visual material of this research were produced in the cave/waterfall of Km 30, placed in Ramal Novo Xingu, 30 km away from the city of Altamira-PA and also in the Planaltina's cave, 3 km away from the city of Brasil Novo-PA. Finally, aesthetic productions of the Biologist and his encounters will be presented, which use elements found in such places as an inspiring force to make other ways of feeling life in the between of Biology and Art happen, making possible for Biologists, artists, teachers, students and researchers and other vital encounters.

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.

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.

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.

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.

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 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 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.

Traces of a Tango: The Club Invites Me to Dance—a Study of Materiality in Movement

2016 ◽  
Vol 2016 ◽  
pp. 417-424
Author(s):  
Paola Vasconcelos Silveira
Keyword(s):  
Performing Arts ◽  
The Body ◽  
Porto Alegre ◽  
Academic Field ◽  
Dance Training ◽  
Starting Point ◽  
Master's Thesis ◽  
The Relationship ◽  
The City ◽  
Two Bodies

This paper is based on my master's thesis, which was developed in 2013–2014 at the Graduation Program in Performing Arts at the Federal University of Rio Grande do Sul (Brazil). This study aimed to reflect on the processes of developing an artistic experiment conducted from the encounter between my body and the club in transient places in the city of Porto Alegre. The starting point emerged from the experience of the artist in the practice of tango from a dialogue bias between peers. The object, in this proposal, becomes a present and active body—a lively piece that will enhance a one-to-one conversation. It is thus intended that the dance results from the relationship between two bodies, and not from the manipulation of one body over another. Therefore, the study finds resonance in the theoretical possibility of thinking of non-human bodies as vibrant matter with the capability to generate relationships and movements. In that way, this meeting would lead to a loss of the self. This study also contributes to a debate on proposals for dance training, as this research has chosen a path of building the danced relationship with the object from the kinesthetic perception of the body in motion. Finally, this study tenses the production of knowledge in the academic field, by assuming that the body produces a kind of knowledge—an embodied knowledge—which must be recognized and legitimized.

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.

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.

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