scholarly journals ASSEMBLAGE OF MEMORY: ON THE STRUCTURE, PROCESS AND CREATIVITY IN COLLECTIVE MEMORY

2021 ◽  
Vol 14 (1) ◽  
pp. 271-294
Author(s):  
Katarzyna Niziołek
Keyword(s):  
Collective Memory ◽  
Gilles Deleuze ◽  
Social Research ◽  
Theoretical Concept ◽  
Felix Guattari ◽  
Creative Work ◽  
Social Phenomena ◽  
Assemblage Theory ◽  
Structure And Dynamics ◽  
Work Done

The article is aimed at presenting and discussing the theoretical concept of assemblage of memory inspired by and grounded in the creative work done in connection with social research within the framework of participatory theatre. Based on three projects of this kind that I have collaborated on over the last couple of years, all taking memory as their theme, The Method of National Constellations (2014–2016), Prayer: A Common Theatre (2016–2017), and Bieżenki (2018), the concept draws both on artistic, and sociological thinking. An assemblage of memory could be roughly described as a product of creativity, which is constructed using “found” materials, such as stories, images, emotions, behaviours, objects, people even, to compose a new meaningful entity. This is congruent with what became to be known as the assemblage theory, started by Gilles Deleuze and Félix Guattari, who suggested that social phenomena, such as collective memory, one could add, should be viewed as dynamic and heterogeneous arrangements of a variety of elements, material and immaterial, natural and artificial, human and non-human, that are dependent on the connections between them rather than their intrinsic qualities. Thus, an assemblage of memory cannot be accessed through text-oriented methodologies that still seem to predominate the humanities (with its focus on the witness and testimony), but requires innovative, creative procedures, which, as exemplified by the above mentioned theatrical projects, are capable of revealing its structure and dynamics.

scholarly journals Reassembling the Artwork

Tahiti ◽  
2021 ◽  
Vol 10 (4) ◽  
Author(s):  
Dan Karlholm
Keyword(s):  
Eighteenth Century ◽  
Martin Heidegger ◽  
Art History ◽  
Gilles Deleuze ◽  
Social Ontology ◽  
Felix Guattari ◽  
Bruno Latour ◽  
Social Phenomena ◽  
Assemblage Theory ◽  
The 1950S

This article discusses how materialist philosopher Manuel Delanda’s “assemblage theory” could be of use for art studies. I begin by situating what I term art studies in relation to art history and comment on the differences. After a selective presentation of Delanda’s social ontology on assemblages, in turn following A Thousand Plateaus by Gilles Deleuze & Félix Guattari, I relate his theory to the concept of assemblage, its origin in the eighteenth century as well as its references as an art term from the 1950s. Theoretical assistance from Martin Heidegger and Bruno Latour allows me to specify how the notion of assemblage could be used in connection with art studies focused neither on Art nor History but on artworks, as the first assemblage, followed by other assemblages, connecting with other works, agents and institutions, i.e. social phenomena literally assembled or com-posed. I present five types of assemblages of relevance to art studies as a different way of doing history, as something ongoing and openly unfolding (assisted and assembled by us), thus theoretically immune to being “history” in the sense of over. Keywords: art history, art studies, assemblage theory, artwork, Gilles Deleuze, Manuel DeLanda, Martin Heidegger, Bruno Latour

Disruptive writing and a critique of territoriality

2004 ◽  
Vol 30 (2) ◽  
pp. 201-228 ◽  
Author(s):  
Prem Kumar Rajaram
Keyword(s):  
Collective Memory ◽  
Gilles Deleuze ◽  
Political Identity ◽  
Specific Consumption ◽  
Felix Guattari ◽  
The Political ◽  
Contemporary State ◽  
The World

Gilles Deleuze and Félix Guattari wrote of the territorialising of the world, describing the commodification of space; its parcelling out and regimentation ensuring stable, unvarying coherence. Territorialised space, when well regulated, becomes a settled base for the political and for notions of political identity, heritage and kinship. Kenan Ferguson describes this as ‘the location and creation of civilization in a specific consumption of the land, as well as the subsequent delegitimation of those with different conceptions of it.’ The contemporary state is the receptacle of human ambition and desires, with history, allegiance and kinship understood in terms of its borders; there is a retrospective history premised on strategic forgetting and the cultivation of a collective memory coherent before the contemporary state.

From Constellations to Assemblages: Benjamin, Deleuze and the Question of Materialism

2021 ◽  
Vol 15 (4) ◽  
pp. 543-570
Author(s):  
Tanja Prokić
Keyword(s):  
Gilles Deleuze ◽  
Historical Materialism ◽  
The Other ◽  
New Materialism ◽  
Felix Guattari ◽  
Deleuze And Guattari ◽  
Assemblage Theory ◽  
The Past ◽  
The One

This essay investigates the differences and points of contact between Walter Benjamin's concept of ‘constellation’ (developed in various texts written between 1920 and 1940) and the notion of ‘assemblage’ as theorised by Gilles Deleuze and Félix Guattari. Both concepts address the entanglement of discourse and matter, bodies and devices, and raise questions regarding the historicity and temporality of different kinds of multiplicity. Presently, the term ‘assemblage’ figures prominently in the context of the new materialism, a theoretical movement which calls for a renewal of materialist ideas, proposing a break with the historical materialism of the past. Against this backdrop, the essay has a twofold purpose: first, by focusing on the notions of constellation and assemblage, it seeks to highlight the differences and analogies between the materialisms of Benjamin, on the one hand, and Deleuze and Guattari, on the other. Second, by examining the new materialism's appropriation of Deleuzian ‘assemblage theory’, it will not only analyse what is ‘new’ about the new materialism, but also underline its conceptual errors and political problems. Eventually, what the essay argues is that our contemporary (‘new materialist’) understanding of assemblages might indeed benefit from a more thorough engagement with the historical materialism of an author like Benjamin.

scholarly journals Sleep as Homework and Engagement in Rehabilitation

2021 ◽  
Vol 42 (2) ◽  
pp. 105-125
Author(s):  
Trine Schifter Larsen ◽  
Mari Holen
Keyword(s):  
Gilles Deleuze ◽  
Central Element ◽  
Theoretical Concept ◽  
Homework Assignment ◽  
Felix Guattari ◽  
Active Engagement ◽  
Active Lifestyle ◽  
Institutional Expectations ◽  
The One ◽  
Vital Element

In today’s push for shorter and quicker hospitalisations, everyday life often becomes a place of rehabilitation for people after they undergo surgical procedures. In order for hospitals to manage shortened periods of admission and to facilitate post-operative rehabilitation, a patient‘s active engagement has become a central element to clinical treatment and care in Denmark. For example, in the recovery from orthopedic surgery, sleep becomes a type of "homework" assignment that is a vital element of the patient‘s rehabilitation trajectory. Building on the theoretical concept of ‘engagement’ developed by Gilles Deleuze and Félix Guattari (2005), we examine the patient‘s relation to sleep as part of recovery; we refer to this as ‘sleep engagement.’ In particular, we analyze sleep as part of an institutional pedagogy in rehabilitation, and we ask how this pedagogy mobilizes rehabilitation for older patients after they have been admitted to the hospital for an orthopedic surgical procedure. Using ethnographic material, our analysis leads to a discussion of institutional expectations for what it means to be engaged in one's own patient trajectory. The article presents three results: 1) Expectations of sleep as an institutionally defined homework assignment are fulfilled through the establishment of the ‘rehabilitable and non rehabilitable body’; 2) As an active attempt to mobilize resources in rehabilitation, patient sleep engagement becomes part of a historical and contextual nexus; and 3) Institutional sleep potential creates new points of ambivalence—on the one hand, sleep is an optimization-promoting requirement in order to exercise while, on the other hand, the midday nap reflects an outdated view of old age that opposes an active lifestyle perspective.

scholarly journals Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis

2019 ◽  
Vol 28 (2) ◽  
pp. 133-158
Author(s):  
Kieran O’Halloran
Keyword(s):  
Mobile Phone ◽  
Mobile Devices ◽  
Mobile Device ◽  
Creative Thinking ◽  
Gilles Deleuze ◽  
Felix Guattari ◽  
Stylistic Analysis ◽  
Creative Work ◽  
Common Ownership ◽  
Creative Pedagogy

A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.

O Pequeno e o Grande Emílio: elementos para pensar a pedagogia e a produção de subjetividades

2020 ◽  
Vol 14 (39) ◽  
pp. 155-184
Author(s):  
Bruno Gonçalves Borges
Keyword(s):  
Gilles Deleuze ◽  
Felix Guattari

O problema que pretende responder este texto pode ser resumido ao questionamento acerca do processo que levou a pedagogia a se tornar uma peça indispensável de uma engenhosa estrutura de produção de subjetividades na era capitalista. Para tanto, esse problema ganha contornos a partir do esboço de um cenário dual, em que há de um lado, um Pequeno Emílio, originário da obra rousseauniana , desprendido do desejo de formulação de um padrão subjetivo, ainda que aspectos de um naturalismo liberal sejam pertinentes a ele; e, de outro, um Grande Emílio, produto de uma “pequena”, mas incessante e, talvez, pretensiosa resposta ao problema do governo de si e dos outros por meio dos usos de uma pedagogia científica e suas variações, encerrada na ideia de formação plena de um corpo social que reduz a multiplicidade aos níveis economicamente produtivos. Ao propor a abordagem em questão, este texto lança mão de uma análise ao estilo esquizo dos filósofos franceses Gilles Deleuze e Félix Guattari de textos importantes para a filosofia da educação e da própria pedagogia em função de encontrar suporte para os elementos de uma produção subjetiva em curso que passa pela pedagogia.

BACK ON CIRCE'S ISLAND

Ramus ◽  
2020 ◽  
Vol 49 (1-2) ◽  
pp. 213-235
Author(s):  
Michiel van Veldhuizen
Keyword(s):  
Science Fiction ◽  
Analogical Reasoning ◽  
Gilles Deleuze ◽  
Margaret Atwood ◽  
Classical Antiquity ◽  
Felix Guattari ◽  
Dio Chrysostom ◽  
The Witch ◽  
The Moment ◽  
Physical Degradation

The reception of Circe's island in and through Classical Antiquity has largely focused on the enigmatic sorceress herself. The long literary chain of interpretive topoi—Circe the witch, the whore, the temptress—stretches from Apollonius, Virgil, Ovid, and Dio Chrysostom to Spenser, Calderón, Joyce, Margaret Atwood, and Madeline Miller. Her role as Odysseus’ benefactor, so unmistakable in Homer, is soon forgotten; to Virgil, she is above all dea saeva, (‘the savage goddess’, Aen. 7.19). One distinguishing feature of Circe and her reception is the focus on representation: the enchantment of Circe, as Greta Hawes puts it, is above all a study in allegory. From the moment Circe put a spell on Odysseus’ companions, transforming them into animals in Book 10 of the Odyssey, Circe has invited analogical reasoning, centered on what the transformation from one being into another represents. More often than not, this transformation is interpreted according to a dualist thinking about humans and animals: subjects are transformed from one being into another being, thus representing some moral or physical degradation. This article, by contrast, concentrates on Circe's island through the lens of becoming-animal, the concept developed by Gilles Deleuze and Félix Guattari in the tenth plateau of A Thousand Plateaus, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible…’. I explicate the concept of becoming-animal by applying it to a Deleuzian encounter with Circe's island, both in its ancient articulations and in its various receptions, including H.G. Wells's science fiction novel The Island of Dr. Moreau.

scholarly journals Becoming Child and Sustainability—The Kindergarten Teacher as Agency Mobiliser for Sustainability through Keeping the Concept of the Child in Play

2021 ◽  
Vol 13 (10) ◽  
pp. 5588
Author(s):  
Anita Tvedt Crisostomo ◽  
Anne B. Reinertsen
Keyword(s):  
Gilles Deleuze ◽  
Kindergarten Teacher ◽  
Felix Guattari ◽  
Teacher Roles ◽  
Educational Organization ◽  
Nature And Culture ◽  
And Function ◽  
Opening Up ◽  
Power Position

In this article, we seek to theorize the role of the kindergarten teacher as an agency mobiliser for sustainability through keeping the concept of the child in play, ultimately envisioning the child as a knowledgeable and connectable collective. This implies a non-dialectical politics of multiplicity ready to support and join a creative pluralism of educational organization and teacher roles for sustainability. Comprising friction zones between actual and virtual multiplicities that replace discursive productions of educational policies with enfoldedness, relations between bodies and becomings. This changes the power, position and function of language in and for agency and change. Not through making the child a constructivist change-agent through language but through opening up the possibilities for teachers to explore relations between language and matter, nature and culture and what might be produced collectively and individually. We go via the concepts of agencement expanding on the concept of agency, and conceptual personae directing the becoming of the kindergarten teacher. Both concepts informed by the transformational pragmatics of Gilles Deleuze (1925–1995) and Félix Guattari (1930–1992). The overarching contribution of this article is therefore political and pragmatic and concerns the constitution of subjectivity and transformative citizenships for sustainability in inter- and intra-generational perspectives.

Allegories of Creativity and Territory

PMLA ◽  
2003 ◽  
Vol 118 (1) ◽  
pp. 114-119 ◽  
Author(s):  
Roger Bartra
Keyword(s):  
Aggressive Behavior ◽  
Ecological Niche ◽  
Gilles Deleuze ◽  
Social Groups ◽  
Modern Society ◽  
Felix Guattari ◽  
Human Beings ◽  
Death Of God

Ecology defines territory as an area defended by an organism or a group of similar organisms with the purpose of pairing off, nesting, resting, and feeding. The defense of this space frequently brings about an aggressive behavior toward intruders and the marking of boundaries by means of repulsive chemical odors. Human beings, though they lack a precise ecological niche and are capable of adapting themselves to diverse spaces, also define territorial limits, from which emanate particular aromas that identify certain social groups. This is a question not of chemical perfumes but rather of codified cultural effusions that fill these groups with pride, even though they may, on occasion, strike others as repulsive. Many years ago, theories established that modern society impels a relentless process of deterritorialization and decodification, a process that tends to be ill regarded by ecologists, the populist left, fundamentalists, and conservatives. The proponents of this idea in the 1970s, Gilles Deleuze and Félix Guattari, stated in their renowned but forgotten book Anti-Oedipus (1972) that this process would end in the liberation of “desiring machines” and the dismantling of the oppressive state, in the same way that the death of God announced by Nietzsche was to be a liberating catastrophe. It is curious that these theories should end up hermetically codified and entombed beneath the seven seals of postmodernism and deconstruction, in the territory of an insufferable and unnecessary jargon.

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