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Through an analysis of All About Lily Chou-Chou (2001), this paper adopts the contemporary paradigm of cinematic affect in the study of contemporary Japanese cinema. Contextualizing the film within the rise of the Japanese New Independent in the 1990s, it argues that contemporary Japanese cinema exists as an assemblage of auteurist works that revisit Japanese culture and identities with cinematic iconography. This paper combines a historical profile of film director Iwai Shunji and a critical review of the Deleuzian-influenced paradigm of cinematic affect from which it theorizes an 'affective icon' for the appreciation of Iwai's film, embodied with the traumatic expression of the youth icon. [ABSTRACT FROM AUTHOR]

There is a growing academic interest in respect for critical game studies from the domains such as cultural studies, literature, ludology, and gender studies. However, the research done on videogames from the perspective of the political discourse is not broad enough. Rocksteady Studios' Batman: Arkham Asylum (2009, director Sefton Hill) is a franchise that has redefined the superhero videogame genre. Although previous Batman transmedia adaptations would usually portray Gotham City as the prime location to narrate the story from the perspective of Batman, the videogame utilizes the carceral setting of Batman to subvert the traditional narratives and makes it completely a Joker's (character) game. Therefore, this version of storytelling carries a character with a more nuanced demeanor and a setting with socio-political influence. The current paper examines the underlying structural inequality present in Batman using Giorgio Agamben's bare life theory and the subsequent discourse of resistance using the theoretical framework of Mikhail Bakhtin. The analysis reveals the various carnivalesque elements present in the game and illustrates how the game takes advantage of them to mount an attack against the bare life status of the antagonists that are usually seen in Batman transmedia universe. Furthermore, the paper elaborates on the posthuman traits of Joker's becoming through a Gilles Deleuze-inspired perspective. [ABSTRACT FROM AUTHOR]

Amidst a pandemic‐ridden world, in which esoteric practices, conspiracy theories, and alternative spiritual movements are gathering growing popularity, turning the spotlight on spirituality can be seen as a problematic move that some might feel tempted to reject outright. However, rather than reifying the belief‐driven pretensions traditionally upheld by religion, in this paper, I wish to propose a different outlook on spirituality, one which is linked to those inexplicable, visceral sensations engendered by German artist Katharina Grosse's explosive use of colour. To do this, I turn to the philosophy of Gilles Deleuze, who when affirming the non‐representational, spiritual potencies inherent to art provides the conceptual means through which to address such relationship. Specifically, Deleuze places the emphasis on his concept of sensation, which speaks neither of subject nor object. Indeed, by apprehending those in‐between, intensive moments in which a visual work of art stimulates our eyes, mind, and body, sensation foregrounds an immanent, and not transcendent, understanding of spirituality. This immanent understanding of spirituality refers to the pre‐individual forces and processes from the outside through which sensation enables us to precursively experience what the spiritual looks and feels like, yet without enforcing a dogmatic pathway to follow. Thus, by combining my reflections on Deleuze's thinking on sensation with creative vignettes based on an online ethnographic study of Grosse's artworks, the paper presents three methodological pointers: (1) Confronting the in‐betweenness of sensation, (2) Experimenting with the precursive force of language, and (3) Unleashing the literary power of becoming. Through them, I show how geographers might rethink their engagements with art as having more to do with an aesthetically induced, micro‐subjective journey into their spiritual becoming than with an intentional encounter. I conclude the paper by discussing the ethico‐political implications that endorsing an ethos of sensation might have for geography and beyond. Inspired by German artist Katharina Grosses explosive artworks, this paper seeks to rethink how geography and spirituality might be brought together, when taking the inexplicable, visceral sensations generated by colour as a starting point. In so doing, the paper combines my theoretical reflections on Gilles Deleuzes concept of sensation with three creative vignettes (based on an online ethnographic study of Grosses work) in order to present three spiritually informed, methodological pointers. The paper concludes by discussing the ethico‐political implications that endorsing an ethos of sensation might have for geographers engagements with the visual arts and beyond. [ABSTRACT FROM AUTHOR]

Abstract\nPoints of interestAlthough critical disability studies has become more widely recognized within physiotherapy scholarship and education, ableism still profoundly influences and directs the physiotherapy profession. We draw from post-structural French philosopher Gilles Deleuze’s philosophy to highlight how ableism is bound up in the taken-for-granted assumptions of physiotherapy. We outline how ableism is entangled with the profession’s ontology and European notion of human. As a result, ableism is maintained by clinicians through the embodiment of the ideal species typical human, in both the domain of the mind and body. As it stands, to do physiotherapy necessitates ableism. Imagining physiotherapy otherwise, we set out to critique and unsettle the profession’s metaphysical presuppositions, creating the possibility for new generative avenues for physiotherapy. Deleuze’s ontology of difference provides the profession an alternative starting point which makes the notion of ‘normal’, and consequently ableism, unthinkable.This paper explores how physiotherapy’s foundational assumptions continue to uphold ableism.By imagining the profession as always in motion, we argue that bodies are understood as always changing.We demonstrate how French philosopher Gilles Deleuze’s philosophy might enable physiotherapy to escape its ableist history.By theorizing physiotherapy as always in motion, the possibilities of what clients and clinicians can do and become open upWe outline the utility of not assessing physiotherapeutic interventions as ‘Good’ or ‘Bad’ but by what they do and what possibilities they open up.This paper explores how physiotherapy’s foundational assumptions continue to uphold ableism.By imagining the profession as always in motion, we argue that bodies are understood as always changing.We demonstrate how French philosopher Gilles Deleuze’s philosophy might enable physiotherapy to escape its ableist history.By theorizing physiotherapy as always in motion, the possibilities of what clients and clinicians can do and become open upWe outline the utility of not assessing physiotherapeutic interventions as ‘Good’ or ‘Bad’ but by what they do and what possibilities they open up. [ABSTRACT FROM AUTHOR]

Inspired by the distinction that Gilles Deleuze drew between the 'movement-image' and the 'time-image,' the paper considers the 'film'—the 'skin'—of 'film geography,' not in terms of the customary geography of film, the geography in film, or the geography from film, but rather in terms of geography as film, a literal 'film' geography or 'filmic' geography. To get under the skin of film geography, the paper proceeds in three parts. The first part shatters the conception of film as a re-presentation. The second touches a raw nerve by channelling the power of the false. The third splits open and unfolds the two faces of film, namely the 'movement-image' and the 'time-image.' By way of conclusion, the paper ends its flaying of film geography with a 'stirring still' taken from Michael Madsen's (2010) Into Eternity: A Film for the Future, which documents the construction of Onkalo, the world's first deep-geological nuclear-waste disposal facility that must remain undisturbed for at least 100,000 years once the tomb is sealed in the early twenty-second century. [ABSTRACT FROM AUTHOR]

The House is Black is a lyrical documentary by a modernist Iranian poet and filmmaker, Forough Farrokhzad. It is a kind of symbolic visual poem about leper patients of a leprosarium in Iran made in 1962, which transcends time and place. This paper describes the ways in which the emphasis on the human body, references to historical and religious sources, and the use of the Biblical verses replace conventional interviews to create a narrative in the film. Utilizing Gilles Deleuze's concept of affect, the paper analyses the camera's focus on hands and feet, in contrast to absent facial expressions, which engages the audience. [ABSTRACT FROM AUTHOR]

Gilles Deleuze has become a key reference for the recent debate on virtual technologies, as his conception of the virtual is widely used to argue for the reality of virtuality. Nonetheless some scholars, among which Slavoj Žižek stands out, have warned about the risks of flattening the Deleuzian concept on the tech debate. This paper aims to show why the two concepts of the virtual do not overlap by explaining some features of the Deleuzian virtual that make it incompatible with virtual media. Namely, its intensive dimension, its relationship with the possible and its imperceptible nature. The paper will also claim how differentiating the two concepts opens up wider applications for the Deleuzian virtual while, at the same time, lightening the tech debate of its ontological burden, allowing to approach the issues of virtual technologies from a more fruitful perspective - that is to say, their pictorial functioning. [ABSTRACT FROM AUTHOR]

This paper aims to explore the clinical use of Gilles Deleuze's philosophical concepts such as repetition, virtuality, multiplicity, and difference of intensity, which together comprise his process ontology. I argue that Deleuze's process ontology forms the basis of his transcendental aesthetics of sensation, specifically by focusing on his earlier work prior to his collaboration with Félix Guattari. This investigation uses the concepts of Agencement machinic as a method to study Deleuze's aesthetics which is based on his establishment of nondiscursive art and nonverbal semiotics. This paper also argues that the displacement of Plato's Idea by Deleuze's intensive multiplicity endows a work of art with the highest ontological status in Deleuze's transcendental empiricism. Throughout this paper, Deleuze's process ontology is understood, used, and reinvented through the Documentation Art project, which creates experimental video art pieces from the digital documentation of the processes of Korean Bunche paintings, while not reducing a work of art to an expression of certain concepts. As a result, this paper shows how Documentation Art rejects the notion of representation stemming from Kant's transcendental aesthetic, by making the invisible painting process visible, and explores unseen experimental capacities in Korean painting practices through the artistic singularization processes. [ABSTRACT FROM AUTHOR]

This paper discusses the structure of Imraan Coovadia's Tales of the Metric System: A Novel. Drawing inspiration from Karina Szczurek's review of Coovadia's book, the article explores the kaleidoscopic view of the South African state that emerges across the storylines in the novel. Critically, this paper connects Szczurek's terminology to Gilles Deleuze and Félix Guattari's concept of the rhizome. The multiple perspectives that intersect over the course of Coovadia's text foreground the polyvalent bonds connecting characters across space and time. These links form a web between characters which closely resembles Deleuze and Guattari's description of the rhizome in A Thousand Plateaus. In doing so, the rhizomatic structure of this novel presents a version of history that runs contrary to state history by focusing on individuals' stories and the ties that bind them as a family, a community, and a nation. Mapping the range of connections surrounding one of the central characters, Professor Neil Hunter, I argue these bonds help to highlight how apartheid violence is experienced plurally, across multiple people, spaces, and generations; in the case of Hunter, I also show how his tragic murder impacts people born after his death. Advancing forward in time, this article goes on to show how the links between characters can also help readers map challenges pertaining to reconciliation and nation-building in the post-apartheid South African state. The interplay between time, memory, and a non-linear storyline in this novel raise important questions about the past and how or why this history is recalled. [ABSTRACT FROM AUTHOR]

Upon encountering Deleuze's Nietzschean reiteration that it is the task of modern philosophy to overturn Platonism, as put forth in Difference and Repetition (1968), this article worms its way in, seeking to unearth not merely what Deleuze's differential repetition signifies, but also what such gestures generate in (re)turn. By considering Deleuze's intervention as a manifold performance of (re)purposeful gestures that put the notion of reversal itself into question, and after providing a brief, Deleuzian, exposition of Platonism, this article not only homes in on Deleuze's demiurgic detection of an overturning gesture paradoxically already present in, if not itself initiated by, Plato's writing, but additionally calls attention to other curiosities turn up when reading besides, instead of against, the grain. In introducing Michel Serres as a critical companion, this experimental article ultimately ponders over and entertains the productive possibility of framing Plato's poignant predicament as a (problem of the) parasite. Composed as fruitful conceptual personae, parasites emerge throughout this article in unforeseen manners, time and time again bringing new food for thought to the table. [ABSTRACT FROM AUTHOR]

The spatiality of the Internet is a complex phenomenon presupposing a wide range of ideas: that there are different environments which can be characterized, that there are subjects moving within them, that these spaces are being employed for certain ends by their users, and much more. However, various spatial descriptions of the Internet most of the time observe it as a part of a larger spatial architecture, not as a spatial architecture itself. This paper employs radical concept creation machinery conceptualized by Gilles Deleuze and Félix Guattari in What Is Philosophy? (first published in 1991), principles of paralogistic thinking proposed by Jean- François Lyotard and divergent thinking methods, finally arriving at a new conceptualization of the Internet space as the meteorological pressure system. This is an invitation to see the Internet and movements occurring within it from a new perspective: where temperatures rise and drop, winds blow and dissipate, fogs come and go; where limits of spatial characteristics are forming different climates; where each part affects the whole, and can potentially bring out various chain reactions. Such a conceptual system opens up the possibility to see the Internet as a coherent spatial structure, filled with becomings and intricate relationships. [ABSTRACT FROM AUTHOR]

Feminist theorizations have recovered the ethical and political value of shame, suggesting that shame operates not only as a mechanism of normalization and social exclusion but also as a primary affect of intersubjective life. This paper argues that this theorization can be enriched by putting into conversation Agamben's and Deleuze's interactions with Primo Levi on shame as an ambivalent affect. What is shameful, for both Deleuze and Agamben, is not simply the sense of being judged by others as unworthy, unwanted, or wrong, but rather the awareness of one's complicity in Others' suffering. This essay explores the pedagogical openings of shame as the inability of the self to respond to Others' suffering. The paper concludes by suggesting that certain experiences of shame can be transformative in that they create pedagogical possibilities that could subvert negative referents of shame. What the author terms critical pedagogies of shame pay explicit attention to the affective complexities of the narratives of oppression and suffering that enter the classroom and interrogate in particular the trappings of normative narratives of shame. [ABSTRACT FROM AUTHOR]

In this paper I seek to explore how a particular aspect of process philosophy can offer us new ways of thinking through time in archaeology. In contrast to current archaeological debates, which counterpose a model of archaeology as driven primarily by history and sequence with one of memory and contemporaneity, the process approach taken here develops a different account. Drawing on the three syntheses of time set out by Gilles Deleuze, the paper explores how habit, memory and difference allow us to think about time in new ways from both passive and active perspectives. Explored through the work of the Ardnamurchan Transitions Project, the paper sets out how these syntheses allow for a multiplicity of times situated within a consistent ontological approach, one that lets us understand the processes by which narratives of both history and memory emerge. [ABSTRACT FROM AUTHOR]

Copyright of Praktyka Teoretyczna is the property of University of Wroclaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores creative educational development by asking what it is or might become. It is based on a singular pedagogical process within the fields of arts, design, and architecture in higher education. The exploration is framed by Gilles Deleuze’s philosophy of difference, which allows for a movement beyond educational certainties that might sometimes limit developmental efforts in higher education. With the intersection of artistic-pedagogical processes and theoretical investigations, the paper aims to imagine potentialities for thinking and doing otherwise in educational development. Thus, this paper strives to become open toward expanding difference and creation within educational development processes. [ABSTRACT FROM AUTHOR]

As COVID-19 swept the world it also became the subject of a quickly growing body of theoretical scholarship aimed at understanding the social, political and economic implications of the 'pandemic event'. Taking a step back, this paper draws on Deleuze and Foucault to interrogate whether, and in what way, the COVID-19 pandemic can and should in fact be understood as an event. We first offer a structured overview of existing 'pandemic theory' where we highlight that the productivity unfolded by the pandemic event is here either politically or ontologically fixed. Against this background, we show that, in distinct ways, Deleuze's and Foucault's concepts of the event caution against reifying a pandemic event. Any political force the pandemic can unfold is always made after the fact, and is contingent on what is (counter-)effectuated from the pandemic, or which discursive dispersions intersect with and unfold from it. We argue for considering the pandemic as evental rather than an event – it is made up of events, and holds the potential to produce events. For critical theory, the significance of the pandemic event is thus in the first place methodological: it gives insight to how (post-)pandemic societies are produced, and where openings for the actualization of alternatives might lie. [ABSTRACT FROM AUTHOR]

What kind of experience of territory is produced by walking pilgrimages? Do they generate experiences of place or space as with the definitions provided by Yi-Fu Tuan in Space and Place: The Perspective of Experience? This paper addresses these questions by considering Tuan's distinction between space and place and various attempts at deconstructing that binary opposition. It looks at three texts about walking that seem to turn space into place--Nan Shepherd's The Living Mountain, Thelma Poirier's Rock Creek, and Iain Sinclair's London Orbital: A Walk A round the M25--before considering the author's own failure to turn space into place during an improvised walking pilgrimage in southwestern Saskatchewan, Canada. Finally, the paper considers a more recent pilgrimage by the author on the Whithorn Way in Scotland. He concludes that walking pilgrimage actually generates a phenomenal experience of more abstract qualities, 'placeness' and 'spaceness,' which are interrelated and interpenetrated, folded together (in a Deleuzian sense), a conclusion that leaves the author ready to re-evaluate his improvised pilgrimage in Saskatchewan as well as the literary accounts he discusses. [ABSTRACT FROM AUTHOR]

Tim Spooner has described his practice as "an increasingly complex series of live performances centred on the revelation of life in material."1 In this article, I consider this revelation as the precondition of a theatre ecology. Spooner stages a theatrical encounter between bodies and environments, in which distinctions between person-thing, subject-object, self-other no longer hold. Whilst there are evident parallels between this practice and posthumanist, or new-materialist philosophy, I shall describe Spooner's theatre as artlike.This article responds to two thematics outlined in the original call for papers for CDE 2021: "eco-spaces" and "eco-aesthetics." The argument runs: 1) an ecological space is the result of an ecological aesthetics; theatre is considered fundamentally social, political in significance; art is fundamentally ecological in significance; 2) ecocritical theatre and theatre ecology are categorically distinct: in ecocriticism, political, social, and cultural concerns mediate a concern for nature; in a theatre ecology nature is reconstructed virtually; 3) ecocriticism stages a recognition of an ecological crisis in social terms; theatre ecology stages a revelation of an environment; 4) against theatre, there is legislation; 5) a theatre ecology extends a juxtapositional logic of political ecology: this is a false start and ill-timed.The argument leads to a reconstruction of three gestures drawn from three of Spooner's performances. In these gestures, theatre is rendered artlike. The exposition describes Spooner's practice in terms of embodiment and occupation, before considering how the ecological implications of an artlike theatre are, firstly and finally, ethical. [ABSTRACT FROM AUTHOR]

There is a growing academic interest in respect for critical game studies from the domains such as cultural studies, literature, ludology, and gender studies. However, the research done on videogames from the perspective of the political discourse is not broad enough. Rocksteady Studios’ Batman: Arkham Asylum (2009, director Sefton Hill) is a franchise that has redefined the superhero videogame genre. Although previous Batman transmedia adaptations would usually portray Gotham City as the prime location to narrate the story from the perspective of Batman, the videogame utilizes the carceral setting of Batman to subvert the traditional narratives and makes it completely a Joker’s (character) game. Therefore, this version of storytelling carries a character with a more nuanced demeanor and a setting with socio-political influence. The current paper examines the underlying structural inequality present in Batman using Giorgio Agamben’s bare life theory and the subsequent discourse of resistance using the theoretical framework of Mikhail Bakhtin. The analysis reveals the various carnivalesque elements present in the game and illustrates how the game takes advantage of them to mount an attack against the bare life status of the antagonists that are usually seen in Batman transmedia universe. Furthermore, the paper elaborates on the posthuman traits of Joker’s becoming through a Gilles Deleuze-inspired perspective.

This paper investigates the relationship between James' radical empiricism and Deleuze's study of the genesis of sense without a transcendental subject as necessary condition. It shows that James' concept of pure experience changes the form of relation between mind and world. Considering how to conceptualize experience without a fixed metaphysical or transcendental subject destabilizes ontological identity, leads to a founding conceptual divergence from traditional phenomenology, and motivates Deleuze's efforts towards transcendental empiricism. The paper reads Deleuze's work on the genesis of sense in this context, arguing that one important result is an ontological pluralism. Such pluralism is crucial in considering how meaning can be made between and across differences and is in keeping with radical empiricism's openness to life's complexity. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the storylines of four student ballet dancers who attend a specialist performing arts secondary school and who, in differing ways, envisage futures which ‘look straight at ballet’. When decisions about schooling intermingle with long-held imaginings of futures in ballet, thought is provoked about ways the young adolescents embody and express notions of becoming. A Deleuzian lens is employed to explore assemblages of the self through the deterritorialisation that is provoked when unforeseen images emerge and imaginings are challenged. The data discussed in this paper include interview transcripts and pictures participants have drawn of themselves. The analysis uses notions of rhizomatic becoming and positions students' decision-making in oscillation between deterritorialisation and reterritorialisation as new languages make sense of how a future in ballet is configured from different perspectives. Themes of being in love with ballet and identities of dancers/non-dancers are negotiated through the data. As talented ballet students are compelled to move away from schooling in order to move closer to their future, concepts of schooling are problematised. Understandings of rhizomatic structures offer insight into the working out of desires, particularly in the context of a specialist performing arts school. [ABSTRACT FROM AUTHOR]

What does it mean to make love to trash? Experimental video artist Tejal Shah’s work has consistently thought through the limits and capacities of the image to address queer sexuality. In their most recent work, Between the Waves, the artist visualizes a lush feminist dystopia at the end of the world as we know it. Images of bodies - human, plant, and other life - are brought together in shifting relations of intimacy amidst landfill waste, forest swamps, and deserted beaches. This paper develops a temporal critique of Shah’s installation, focusing on waiting as a queer dystopian form of cohabitation. While postcolonialism’s temporality has focused on the hauntings of the past in the present, in this article I take postcolonial interventions into linear temporality as informative for imagining queer postcolonial futures. Through the paper, I pay close attention to the acousmatic sounds of aspiration and nondiegetic breath, contending that such encounters render a postcolonial and posthuman ethics of queer care for selves and others in the midst of environmental ruin. [ABSTRACT FROM AUTHOR]

The present paper studies Paul Auster's Sunset Park from the Deleuzian perspective. Gilles Deleuze in his books on cinema introduces his theory of metaphysics of imagination through which he analyses images of past as well as the crystal-images in the perceiver's [character's] memory. Accordingly, the paper looks for new ways to apply Deleuze's analysis of cinematic images on literature. Such analysis enables us to study the mentalities of Auster's characters' in terms of their relationship with their past memories, and their rejoining of the society after a self-inflicted exile. As such, Deleuze's treatment of the images of the past through the crystalline narrations and flashbacks will be used to analyse the past mindsets and memories of Auster's characters. The findings will ultimately show how these Deleuzian concepts can work as a new arena to critically evaluate literary works in terms of the role of images of the past and virtualities in creating evolving fictional storyworlds, using Paul Auster's Sunset Park as the tool for analysis. [ABSTRACT FROM AUTHOR]

This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films - Amma Ariyan (A Report to Mother, 1986), Ithrayum Yathabhagam (Journey So Far, 2003), Vettayadapetta Manasu (Haunted Mind, 2006), Mortuary of Love (2009), Agnirekha (Line of Fire, 2011) and Holy Cow (2015). This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the Cinéma Vérité of Jean Rouch and the Third Cinema of Solanas and Getino or the milieu of the political which creates realistic documentation in cinema. It looks at the concepts like desire and representation that intersect between these two different genres in order to reconceptualise the political in relation to Deleuze on cinema. [ABSTRACT FROM AUTHOR]

This paper aims to consider Krzysztof Wodiczko's Veterans Project in the context of the central tenets of ethico-aesthetics and the concept of the virtual proposed by Gilles Deleuze, which emerge from his discussions of representation processes. The installation OUT OF HERE, which metaphorically refers to the plight of traumatised American war veterans, triggers a trans-mediated dialogue with spectators, reworking passive attitudes towards the position of the excluded. In fact, Wodiczko has been utilising American institutional spaces to prove that they alienate the marginalised to uphold the dichotomy between the centre and periphery. Hence, the aim of this paper is to show how Wodiczko's project becomes an aff ective space, an assemblage of diff erent aff ects and raptures, that organizes a productive encounter, an intensive event, that allows spectators not only to experience records of traumatic events but primarily to increase their capacities to act in the world and to produce new modes of their "becoming". [ABSTRACT FROM AUTHOR]

The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche’s film Vénus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche’s peculiar filmic strategies is the crucial focus of this paper. While Sara’s body is continually exposed and violated, Vénus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari’s (1987 [1980]) account of the close up, I explore how Kechiche’s take on Sara’s face builds a strong connection with the spectator’s extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator’s own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world. [ABSTRACT FROM AUTHOR]

Gilles Deleuze has become a key reference for the recent debate on virtual technologies, as his conception of the virtual is widely used to argue for the reality of virtuality. Nonetheless some scholars, among which Slavoj Žižek stands out, have warned about the risks of flattening the Deleuzian concept on the tech debate. This paper aims to show why the two concepts of the virtual do not overlap by explaining some features of the Deleuzian virtual that make it incompatible with virtual media. Namely, its intensive dimension, its relationship with the possible and its imperceptible nature. The paper will also claim how differentiating the two concepts opens up wider applications for the Deleuzian virtual while, at the same time, lightening the tech debate of its ontological burden, allowing to approach the issues of virtual technologies from a more fruitful perspective – that is to say, their pictorial functioning.

This paper draws on the work of Gilles Deleuze to explore the generative and nonorganic power of disease and death as forces that enable an individual to encounter an impersonality in J. M. Coetzee's epistolary novel, Age of Iron. In Deleuze's theorisations, the experience of disease leads to self-dissolution, whereby the self becomes cracked and fragmented, and is opened to the suffering of others. In Coetzee's novel, societal illness is produced and forged by a racially segregated politics, an unequal economic system, and strident messages in the context of apartheid South Africa, which intersect with the protagonist Mrs. Curren's personal disease. By stressing the associative lines between personal and societal illness, I examine how Curren's ailing body becomes cracked, yet transforms into an impersonal dimension, as it folds and unfolds into the deaths of black people. In the process of (un)folding their deaths along with her dying, Curren further enacts and multiplies the impersonal time of the past-future conjunction. I thus demonstrate, through Deleuze's theorisations, how the power of Curren's physical frailty eventually generates an impersonality beyond personal suffering, in which black and white people move toward an impersonal space beyond the bifurcated world. [ABSTRACT FROM AUTHOR]

In this paper, I enter a crack to think otherwise about the concept “gossip”. Drawing on previous scholarship engaging with Deleuzian concepts to inform research methodologies, this paper builds on this body of work. Following Deleuze and Guattari, the paper undertakes a mapping of gossip, subsequent to an encounter with a crack. Thinking about gossip as something other than woman’s small talk, the paper follows a line opening up gossip onto an intensive web of affects and Deleuze’s becoming-woman. It concludes arguing that the process of entering a crack unlocked thought, making possible new ways of engaging with data. [ABSTRACT FROM PUBLISHER]

This paper seeks to understand the pulse in the body and its "Open" receptiveness to the image/world as an opening to sensation in cinema. Georges Franju's film Le Sang des bêtes (1949) provides a model for the abolition of a spectator who stands apart from the world as a unified subjectivity; the spectator is engaged in an opening to sensation. The sensorial opening in Le Sang des bêtes is derived from the shock of repeated blows, the repetition and "displacement" of body parts into segments, and the micro-movements of the nervous response that travel through the animals in the slaughterhouse. [ABSTRACT FROM AUTHOR]

This paper engages with the ontology and epistemology of urban mapping. While geographical information system (GIS) and other digital technologies have long transformed the capacities for representation of urban data, this paper explores the capacity of mapping to produce new ways of seeing, understanding, planning and designing the city. With a primary focus on urban morphology, distinctions and overlaps between mapping, diagramming, planning and designing are articulated within a framework of assemblage thinking. Through cases drawn from urban design research, we analyse the mapping of political conflict, transport flows, functional mix and informal settlement. It is argued that urban mapping is a form of spatial knowledge production that is often diagrammatic, embodying a spatial logic that cannot be reduced to words and numbers. Urban mapping constructs interconnections between the ways the city is perceived, conceived and lived; and it can reveal capacities for urban transformation – the city as a space of possibility. [ABSTRACT FROM PUBLISHER]

This paper probes and challenges education theory to envision and embody a "non-teacher" in education. The paper fuses the philosophies of anti-identitarian, embodiment and desire to invoke it through corporeal singularities--the somatic and orgasmic moments of becoming--in education where the teaching and learning bodies are not sutured in either discourse or the feminist criticism of a politically ineffectual body-subject. To say, "I am a teacher" already precludes a delimitation of embodied experiences with signifying practices that are attached to the coded and symbolic function of the teacher. The anti-identitarian self in education denies the translation of its existence within the spaces of signification yet its affectivities are undeniably perceptible even if it is opaque. Merleau-Ponty's existential body and Deleuze and Guattari's philosophy of desire are carefully examined and merged in this paper to acknowledge the emancipatory, corporeal singularities in education. The non-teacher that defies the symbolic functioning of consciousness and Foucauldian discourse, disciplinary apparatuses, and taken-for-granted pedagogical ontologies instantiates an inarticulable agentic ecstasy and freedom of being in the classroom. The subjective "I" disappears or is, at least momentarily, suspended from articulation. Thus somatic desires are schizophrenically produced across a plane of intensities. Indeed, it is my aim to show how the loss of the "I" as identity can, literally, make us productively and delightfully insane. To make clear the abstraction of a philosophy of embodiment and desire, I will contextualise my examples through the phenomenology of cinema, notably through Dead Poets Society (1989). [ABSTRACT FROM AUTHOR]

The first portion of the paper focuses on two particular works of art, Guy Ernest Debord's Naked City and Jane and Louise Wilson's A Free and Anonymous Monument, and examines the ways in which both works, despite their different contexts and media, employ an aesthetics of fragmentation and reconfiguration. Debord's Naked City, first published in 1957 by the MIBI (Mouvement Internationale pour un Bauhaus Imaginiste), displays a generic Plan de Paris cut up into nineteen different sections, scattered on a piece of paper, and connected to one another only through red directional arrows. With an absolute disregard for both spatial and directional relations, The Naked City disrupts the false continuity of the Plan de Paris and, in so doing, exposes the violent, homogenizing logic of capitalist aesthetics. This paper argues that Jane and Louise Wilson's 2004 video installation, A Free and Anonymous Monument, utilizes a similar aesthetic of fragmentation and reconfiguration, deconstructing maps and cartographic practices (envisioned very loosely here), as a means of criticizing the homogenizing logic of capitalist constructions of space. The second part of the paper, takes into account Marcus Doel's critique of "slice and stitch" methodology as a means of articulating difference employed very literally within both works and argument for the enactment of a moving and mobilized non-representational theory, depicted as performance. In opposition, but also alongside Doel, I argue that a work of art can maintain a "slice and stitch" method while also being performative. Examining Debord's Naked City and Jane and Louise Wilson's A Free and Anonymous Monument, the paper links the performative nature of both works to Gilles Deleuze's concept of the Erewhon - "an originary 'nowhere' and the displaced, disguised, modified and always re-created 'here-and-now'". The paper contends that the nature of the Erewhon, as simultaneously One and Multiple, is dependent upon the various foldings that take place. Consequently, I argue that the aesthetics of fragmentation and reconfiguration are bound up with the performative folding, and allow for criticality and potentiality to function alongside one another in a work of art. [ABSTRACT FROM AUTHOR]

This paper will attend to the emergence of the concept of assemblage in human geography and looks towards some vigilant steps we might take in using Deleuze and Guattari's version of it. The paper is in three parts: first, it briefly looks backwards, charting this emergence to the uptake of the work of Gilles Deleuze and Felix Guattari as a counterpoint and extension of the earlier engagement with the concept of the network, primarily in actor-network theory (ANT); second, it makes this argument for being vigilant with assemblages through focusing attention on the tetravalent characteristics of the concept of the Deleuze-Guattarian assemblage, emphasising the way this points to alternative arrays of matter and thought. This segues into the third section, which situates the debates in our contemporary understandings of our technological and biochemical condition. The point being that we need precisely the kind of assemblage thinking proposed by Deleuze and Guattari to seize the agenda on the emergent micro- and eco-logical implications these arrays of matter and thought produce; the agenda proposed is exampled through understanding the assemblage concept through the work of Catherine Malabou on that of plasticity and habit, clear extensions in the 21st century of Deleuze and Guattari's earlier ideas. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to challenge the habitual anthropocentric gaze we use when analysing educational data, which takes human beings as the starting point and centre, and gives humans a self-evident higher position above other matter in reality. By enacting analysis of photographic images from a preschool playground, using a relational materialist methodological approach, we put to work concepts that open up possibilities to understand the child as emergent in a relational field, where non-human forces are equally at play in constituting children's becomings. In the second part of the paper, we discuss how the decentring of the child may also be applied to researchers as producers of knowledge. Such a decentring, where the data itself is considered to have a constitutive force and be working upon the researcher as much as the researcher works upon the data, has both methodological and ethical consequences for research. [ABSTRACT FROM AUTHOR]

This article is an attempt at reading Wilson Harris with Gilles Deleuze, considering how the latter's writings on the image might produce a fresh understanding of Harris's art of fiction. To do this, I highlight the interest that both Harris and Deleuze have in the theatre as a medium for illustrating their conception of the image in language and thought. Discussing mainly the novel Carnival, I show how Harris assimilates narrative to the theatrical medium itself as both a concrete and abstract space of spontaneous multiplicity, and relate this to Deleuze's understanding of the image and of the text as objects of movement and of becoming. I also relate Harris's art of fiction to Deleuze's critique of conventional mimesis and its subject/object binarism, showing how codes and conventions of theatrical communication (and a readerly self-conscious perception of this) are injected into Harris's narrative protocols, creating an aesthetic that communicates to or, more specifically, performs with, the reader in ways that challenge the conception of narrative as self-contained representation. In sum, this paper demonstrates the way in which Harris's narrative evokes, and is evoked by, the play of theatre — in other words its quintessentially differential nature, through images that resist the very concept of representation. [ABSTRACT FROM AUTHOR]

In this paper we explore the role of affective encounters between human and non-human bodies in the proliferation of new technologies within and across work organizations. Our exploration challenges not only the long-standing rationalism within studies of technological innovation but the anthropocentrism of burgeoning studies of technology, innovation and affect. Responding to these proclivities, we propose and elaborate an affective Actor-Network Theory (ANT) as an alternative analytical approach by cross-fertilizing ANT concepts with Deleuze's reading of the affective philosophy of Spinoza. Our approach is elaborated further with the technological innovation of zero-carbon homes in the United Kingdom. Affective ANT is proposed to explain the profound role of affects in the circulation of technologies and of technologies in the circulation of affects. This theory contributes by challenging: studies of affect, innovation and technology to examine the significance of relational human affects in the proliferation of new technologies; organizational studies to consider the interplay of human and technical affects; and Deleuzo-Spinozian organizational studies to conceptualize how affects are organized to serve managerial interests and agendas, such as technological innovation. [ABSTRACT FROM AUTHOR]

The French philosopher Gilles Deleuze repeatedly referred to a wide range of sports and games throughout his career. This article assembles a comprehensive view of the philosophy of sport seen from Deleuze's perspective. By studying the development of how he discussed different sports and games, and by pinpointing the concepts he constructed with reference to them, the article attests to the merits of a Deleuzian philosophy of sports. His term athleticism is utilised as a node to overview his allusions to sports and games in general. Special attention is paid to sport as a companion to the creative domains of science, philosophy, and art. Thus, it is concluded that what athletes create are moves, which amounts to inventing new styles which may alter the sport and attest to new ways of thinking through bodies in motion. [ABSTRACT FROM AUTHOR]

Following Massimo Banzi's comment that the Arduino development board might be seen as a means of ‘scratching your own itch’, this paper explores the concept of affect in relation to physical computing, and investigates the ways in which cybernetic and networked objects could be said to enact a series of process-philosophical and object-oriented tensions. In so doing it addresses the cultural saturation of Arduino and its employment in an array of institutional, artistic and activist contexts, and brings this to bear on the conflict between the process philosophy of Gilles Deleuze and the more directly object-oriented perspectives of Graham Harman, Ian Bogost and Bruno Latour. Framing the enquiry around the at once ethico-aesthetic and speculative realist questions of what it is to ‘scratch' and what it is to ‘itch', the paper examines micro- and macro-political agency in the context of physical computing—contrasting process philosophy's pronounced notion of affective, connective, creative differentiation with the black-boxed, withdrawn objects of object-oriented philosophy, and its quasi-causal mode of aesthetic interaction. [ABSTRACT FROM AUTHOR]

Affect theory, non-representational theory, and assemblage theory have been among the most impactful developments in the theoretical humanities in the wake of, and in reaction to, poststructuralism. These interlocking bodies of theory and critical practice call into question two concepts foundational for biblical hermeneutics, namely, interpretation and representation. In literary studies, the poststructuralist "death of the author" has been succeeded by a post-poststructuralist "death of the interpreter". How might biblical exegesis be reimagined on the far side of this double demise? Non-representational theory, meanwhile, in tandem with affect theory, has dismantled traditional understandings of representation; this article argues that traditional biblical scholarship, epitomized by biblical commentary, is driven by a representation compulsion. Assemblage theory, for its part, more than any other body of thought, reveals the immense complexity of the act of reading, not least biblical reading—after which even explicit evocations of contemporary contexts in contextual biblical hermeneutics amount to skeletally thin descriptions. These and other related lines of inquiry impel the rethinking of academic biblical reading attempted in this article. [ABSTRACT FROM AUTHOR]

This article attempts to elucidate the Deleuzian philosophy of the event between The Logic of Sense and A Thousand Plateaus, where it acquires clearly political nuances. With regard to The Logic of Sense, I show that (i) it takes up the definition of the event of Difference and Repetition, identifying it with that redistribution of pre-individual singularities or individuating differences at the level of the univocal being which defines the conditions of problems; (ii) the event is henceforth also the instance that makes possible the "communication" of the heterogeneous series of bodies and propositions from which the production of sense in language follows; and (iii) the counter-effectuation should be understood in this book as an ethics of the event. With regard to A Thousand Plateaus, I emphasize (i) the "return" to The Logic of Sense that the concept of assemblage entails, (ii) the reformulation of the notion of event that takes place in the new theoretical framework, and (iii) that of the counter-effectuation, which must henceforth be understood as a politics of the event. [ABSTRACT FROM AUTHOR]

Compelled to creatively mark the death of his good friend, Neil Spiller has memorialised the renowned graphic designer Vaughan Oliver in an augmented reality roof garden on top of the Longhouse, the centrepiece of his long‐running 'Communicating Vessels' drawing series. Here, architectural theory professor at the University of Sydney Chris L Smith explores the work, ploughs its fields, and surveys its sky. [ABSTRACT FROM AUTHOR]

Purpose - The purpose of this paper is to explore how fictional narratives help us envision ways of constructing the identity as teaching professionals. Furthermore, how encounters with fictional narratives and the absorption of their structures and ideologies can dictate how the author perceive ourselves, and others. Design/methodology/approach - The pedagogy of teacher education relies heavily on narratised models of instruction such as Critical Reflective Practice (CRP). The purposefully traumatic aspects of CRP are designed to trouble the sense of self. I suggest here that this creates a period of subjective vulnerability in the pre-service teacher practitioner. Findings - This paper examines the response to traumatic learning events focusing on how literary tropes and their encompassing ideologies become a powerful yet regressive force in restabilising the professional identity and galvanising the personal subjectivity. Research limitations/implications - Data for this paper has been drawn from the Teaching Men research project that focused on a cohort of male teachers, from Australia and the UK working within TAFE/FE environments all of whom had recently become teachers. Originality/value - This paper addresses a parallel concern: at a point of subjective vulnerability, a term coined as part of this analysis, how do fictional representations of male teachers impact on the construction and practice of teachers in the development of their professional identities? And how can the author devise a structure with which to interpret such activity? [ABSTRACT FROM AUTHOR]

The present paper endeavors to trace the sketch of a possible epistemology of the human sciences. In this sense it begins with the determination of the object of knowledge in the human sciences through a careful examination of the reality of history and of the human world. Then, considering the peculiarity of the domain of the human sciences the paper proceeds to show that their object of knowledge is best understood as "event" in the sense of Gilles Deleuze and Alain Badiou. And, in the end, it circumscribes two modes of knowledge of this object of the human sciences understood as event. [ABSTRACT FROM AUTHOR]

This paper attempts to draw an intermedial comparison of László Krasznahorkai's 1985 novel Satantango and Béla Tarr's 1994 eponymous adaptation through the perspective of their treatment of time and narration, by reflecting upon the specificities of their respective media. The two works advance the hypothesis of a circular experience of temporality defying the linear flow of literary and cinematic discourse. Aesthetically, their approach is characterized by a strong emphasis on seemingly meaningless and bleak contingency, in an atmosphere of claustrophobic closure shaped by the dance metaphor already transparent from the title, which is also central to the structure of both the novel and its cinematic adaptation. In exploring the various cinematographic and typographic mechanisms through which the tango sequence of steps configures the imagery and the sensorial landscape of the two works, our analysis refers to a multi-modal, comparative usage of key concepts such as narrated time, narrative time and Gilles Deleuze's time-image. [ABSTRACT FROM AUTHOR]