Foucault Archives online ~
- Philippe Artières,
- Jean-François Bert,
- Daniel Defert,
- Frédéric Gros,
- Pierre Lascoumes,
- Pascal Michon,
- Mathieu Potte-Bonneville,
- Judith Revel,
- José Ruiz-Funes.
Based on the Deleuzian principles of cinematic production as a representation of becomings, the same images are modulated in time and in the process create a memory experience - a memoryscape.
Another coup for the fold and seating as it pipes and papers it baroque ring around folding infolding outfolded unfolding refolding the drape and cushion of the spine aging back.... Doctor Deleuze Radio Deleuze refers you to this space of comforting deterritorialization.
"This chair, that seems like a folded piece of paper, is made by the designer Christina Liljenberg Halstrøm. She is a danish furniture designer, and the chair is part of the Crafts Collection 12. The inspiration for this piece of furniture came from the French philosopher Gilles Deleuze’s thoughts about the human mind, which he describes as being in a constant process of “folding, unfolding and refolding”. The interesting part is that it is made of plexiglass- I can't imagine how sitting in it would be like, but it looks great!"
The plexiglass is the unbroken molecule. A non usable assemblage. A non communicating vessel, a schizo sort.
July 15th-31st 2008
A Group Show
Curated by Christine Kennedy
Thursday July 17th
"......The Broadway Gallery is pleased to announce Flow, a summer exhibition featuring an international roster of artists whose work investigates the relationships between the fictional space of the artwork, the world and experience.
Flow, a notion allied to the writings of Gilles Deleuze, suggests a new conception of the world and experience. The Deleuzean premise that “everything flows”—air, water, breath, bodily fluids, blood, traffic, information, capital, paint, culture, people and ideas—encourages novel reflection on social, cultural and political processes, including ecological and libidinal economies, but also artistic production.
"Under a rubric of Deleuzean flow, “being in the zone” means more than an elusive experience of uninterrupted creative intensity and loss of self-consciousness; being in the zone de-stabilizes the fixity of spatial and temporal coordinates. Being in the zone alludes to an experience of overflowing—to an experience that, unobstructed or unhampered by restrictions or disciplinary regimes, overflows.
Flow is the breakdown of boundaries between the self and other, the self and the world, inside and outside. Flow is interruption as well. Flows interrupt flows.
Break Flow /Shizt flouder. Cutter of Ram. Sheep of Box. capture, recapture. Flow as wink
"The exhibition seeks to express the desire of flow; these artists capture “flow” with works that succeed in reconfiguring the boundaries between the work, its fictional space, and the world of experience. New constellations emerge, unsettling the distinction inside/ outside. The effect of flow is conveyed as the ebb and flow of information, nomadic systems, appropriated cultural memory bits, hybrid identities, and psychedelic scopic pleasure, movement, fluidity, interrupted and fissured."
As for the method of deconstruction of texts I see clearly what it is, I admire it a lot, but it has nothing to do with my own method. I do not present myself as a commentator on texts.
For me, a text is merely a small cog in an extra-textual practice. It is not a question of commenting on the text by a method of deconstruction, or by a method of textual practice, or by other methods; it is a questin of what use it has in an extra-textual practice that prolongs the text ..
Professor DChallanger speaking
in Clinical Critical terms as the hat was in the wind
What I most detested was Hegelianism and dialectics. my book on Kant’s different; I like it, I did it as a book about an enemy, a book about an enemy tries to show how his system works, how its various cogs-the tribunal of reason… but I suppose the main way I coped with it at the time was to see the history of philosophy as a sort of buggery or it comes to the same thing, immaculate conception. I saw myself as taking an author from behind taking an author from behind and giving him a child that would be his own offsprings, yet monstrous. It was really important for it to be his own child, cuz the author had to actually say all I had him saying,
but the child was bound to be monstrous too, cuz it resulted from all sorts of shifting, slipping, dislocation and hidden emissions…
Le but, ce n’est pas de répondre à des questions, c’est de sortir, c’est d’en sortir.
G. VELTSOS: En ce sens-là vous êtes ami avec Deleuze parce que vous créez ensemble un monde ?
F. G. : C’est ça. Mais comme je le disais dans une interview, je suis ami avec Deleuze mais je ne suis pas copain. Je ne sais pas comment l’on pourrait traduire ça. Parce que, par exemple, avec Deleuze on s’est toujours vouvoyé, on a toujours gardé une grande proximité et une grande distance amicale. Comme si l’on en avait besoin, précisément, pour maintenir la consistance de notre tapisserie commune. (...)