A Ontologia de Deleuze e as Experiências de Deligny: como instaurar existências mínimas

Se o Ser for suposto como uma solução provisória, uma ontologia deve poder pensar seu inacabamento como realidade essencial de sua natureza. É nesse sentido que se coloca a ontologia de Gilles Deleuze, pronta a pensar, a partir daí, um estado do Ser a se caracterizar por movimentos de liberação de linhas que desarticulam o já formado e permitem suas determinações escapar das relações já individuadas. A partir da articulação da ontologia deleuzeana com as experiências de Fernand Deligny com crianças autistas não verbais, nos será possível confrontar as formas hegemônicas de existir com modos de existência singulares que se afirmam em sua diferença ingovernável. Refratários a serem adaptados a partir de qualquer medida padrão, constituindo-se como uma deriva às formas hegemônicas e um desvio que permite se escapar ao controle, tais experiências nos colocam diante de uma deriva que mantêm a perspectiva da desmesura de existências mínimas sempre inacabadas.Palavras-chave: Deleuze. Deligny. Ontologia. Autistas. Corpo sem órgãos. Deriva. Deleuze's Ontology and Deligny's Experiences: How to Establish ABSTRACTIf Being is supposed to be a provisional solution, an ontology must be able to think of its unfinished business as an essential reality of its nature. It is in this sense that Gilles Deleuze's ontology is placed, ready to think, from there, on a state of Being to be characterized by movements of liberation of lines that disarticulate what has already been formed and allow its determinations to escape from the relations already individuated. From the articulation of Deleuzian ontology with Fernand Deligny's experiences with non-verbal autistic children, it will be possible for us to confront the hegemonic forms of existence with singular modes of existence that assert themselves in their ungovernable difference. Refractories to be adapted from any standard measure, constituting a drift to hegemonic forms and a deviation that allows one to escape control, such experiences place us in front of a drift that maintains the perspective of the disproportion of minimal existences that are always unfinished.Keywords: Deleuze. Deligny. Ontology. Autistic. Body without organs. Drift.

Flowing Bodies: Autoethnographies of Desire in "Christmas on Earth", "Fuses" and "Je, tu, il, elle"

This article explores how three women filmmakers express their ways of understanding and experiencing pleasure, based on a comparative study of Christmas on Earth (Barbara Rubin, 1963), Fuses (Carolee Schneemann, 1964–67) and Je, tu, il, elle (Chantal Akerman, 1974). By filming the subculture to which they belong or presenting themselves in the sexual act in a way that emulates ritual, these filmmakers recognize their own sexuality in opposition to the model that relegates the woman to the role of muse. Drawing on Artaud’s concept of ritual and his “Body without Organs,” this analysis posits the possibility of the concept of “flowing bodies,” referring to bodies in motion that affirm their own pleasure, andproposes to describe the three films explored here as “autoethnographies of desire.”

Grotesque Corporeality: Queering The Bulge In Gay Male Underwear

This creative Major Research Project (MRP) uses a practice-led research method approach to investigate a correlation between the queer body and the grotesque. The research questions attempt to explore the way queer bodies are used to transgress and subvert both heteronormative and homonormative ideologies and masculinities using grotesque humour. This project also examines the relationship between fashion and the body to resist normative values and ideals. Artistic practices combine to create a volume of work consisting of collage, underwear garments, and photographs. These creative outputs are then analyzed and discussed with a focus on Mikhail Bakhtin’s theories of the grotesque and carnivalesque, Gilles Deleuze’s theory of the Body without Organs, and queer theory.

Grotesque Corporeality: Queering The Bulge In Gay Male Underwear

This creative Major Research Project (MRP) uses a practice-led research method approach to investigate a correlation between the queer body and the grotesque. The research questions attempt to explore the way queer bodies are used to transgress and subvert both heteronormative and homonormative ideologies and masculinities using grotesque humour. This project also examines the relationship between fashion and the body to resist normative values and ideals. Artistic practices combine to create a volume of work consisting of collage, underwear garments, and photographs. These creative outputs are then analyzed and discussed with a focus on Mikhail Bakhtin’s theories of the grotesque and carnivalesque, Gilles Deleuze’s theory of the Body without Organs, and queer theory.

1973: Memories of a Lesbian Body – Reading Monique Wittig's Le Corps lesbien through Deleuze and Guattari's le corps sans organes

This article reads Monique Wittig's Le Corps lesbien (1973) through Deleuze and Guattari's concepts of le corps sans organes (the body without organs; BwO) and devenir-femme, devenir-animal (becoming-woman, becoming-animal) in order to illuminate both Wittig's formal and figurative concerns and her larger literary objectives. The dismembered and dismember- ing lesbian lovers that Wittig describes in Le Corps lesbien illustrate a process of becoming-woman, becoming-animal and becoming-other that leads to a becoming-minoritarian and a renunciation of stratification and subjectification in the body without organs. This process is a celebration of dispersed, multiplicitous identity that exists in haecceities. Wittig's lesbian lovers undergo various becomings in the text to illustrate the multiplicity of possibilities as they move towards the BwO, and the text as a whole uses this BwO to resist and dismantle the hetero-patriarchal order.

Aerial, apparatus, assemblage: Pain, pleasure, kink, and the circus body without organs

Addressing intersections of performances, practices, and practitioners of circus aerial and BDSM, I investigate how “play” manifests in both activities. Circus aerial and kink both involve forms of play that experiment with what is possible, tenable, and worthwhile for bodies to do under restrictive and painful conditions. Both practices are both pleasurable and serious, seeking transcendent, less “controlled” experiences, while maintaining the level of control necessary in forms of play involving real risk. Aerialists select their performance apparatuses not just aesthetically, but for the planes of intensity that playing on and with them enables them to traverse in experimentation and performance, mirroring the complex factors determining an individual’s preferred forms of kink play. Combining performance analysis, interviews with kink-involved circus aerial performers, and my own experience as an aerialist and a kink practitioner, in conversation with theories of play and of sexuality, I explore how intersections of pain, pleasure, and play in BDSM and aerial practice inform each other on embodied and aesthetic registers. I argue that, as an assemblage of aerialist and apparatus, the performer engages in a Deleuzian act of becoming, evoking a Body without Organs that, in its play of intensities, is more than incidentally masochistic.

A Reason and a Spirit: Body without Organs

This article is devoted to possible types of organization of global AI and possi­ble measures to counter the loss of autonomy by individuals – their transforma­tion into HomoCell – human cells of a more global organism. The text of Im­manuel Kant What is Enlightenment? Was chosen as a guideline. The author emphasizes that as the goal of the Enlightenment, Kant sets the task – the acqui­sition of independence by individuals in the use of their own mind. The afore­mentioned work remains one of the main programmatic texts of the Enlighten­ment, which, according to the author, is not over yet. The article notes that an autonomous or independent individual is an exclusion from society, literally. However, the connection of such subjectivization with marginality introduces the binary opposition norm/abnormality. The idea is that this dichotomy creates two opposing areas in the field of culture, thus making it impossible to either indicate or think over a balanced solution to the problem posed by Kant. The author proposes to trace the genealogy of the development and addition of the concept of Cogito – from Descartes to Deleuze – as the basis for the interpreta­tion of the subject, to introduce it into the theory of systems, and, thereby, rised above oppositions.