George-Byron Davos, THE «ANARTIST» «MACHINE DE GUERRE». THE CREATION OF THE POLITICS AFTER SENSATION
By taking as a starting point the famous phrase of Gilles Deleuze «oppose création à la réaction», as a precept in the transformation and reanactement of the political praxis in the context of the understanding of politics not as an engagement but as a prise de contact with precise problems and situations from the part of the machines de guerre, constituted bu the multiplication of the indivual and creative minorities, we find ourselves at the core of the philosophers doctrine in favour of the construction of a philosophy without image, that contrary to what someone might think—based on the declared anti-Platonism of Deleuze’s—is fundamentaly connected to an aesthetic idea of the act and action of politics. The habitual tendency of the Capitalistic institutional systems to devide In accordance with the Deleuzian premise for the creations of new possiblities of existence, the will (volonté) of creation, by means of
construing new concepts/precepts, instigates the forces of invention of these new concepts and situations, that contribute to the genesis of new Becomings (devenir) and Events. The process of creating new forms, that not only transcend, but mainly dismantle the given and stabilized images, the affabulations and simulacrae, of a system, is according to Deleuze also the Art’s first task. The variegated and intensive Fluxes, the Escapes (fuits), as multiple and heterogenous, are on the basis of the trasversalities of the parallel stratifications of the communities that create the Machines Desirantes, which combine all the desires, the aims, the space and time and all the parafernalia of a common ferventation and fermentation, the mille plateaux, of the social corpus, which give birth to the construction of the Event. The Event (événement) as being tautological to sense (sens) is the primal
cause for the making of the sensation, which is not related to a certain image, but as a combination of bodies and signs, and through the multiplicating process of the creation, construes new possibilities of
conceiving the political praxis as a constant revolutionary movement, analogous to what Deleuze have said the revolution needed to painting to trespass the limit of representation towards the Abstraction (whereas the representation must be conceived as the constituent affabulations and institutions of the system).
J-D Dewsbury, Singularities of Tendency-Subjects and the Force of Expression in Richard Ford
In his essay Bergson’s Conception of Difference, Gilles Deleuze makes the claim that ‘a being is not the subject, but the expression of tendency’. This paper contrasts Deleuze’s Bergsonian method of intuition with his later ‘method of dramatization’ to encounter the force of expression in the singularities of Richard Ford’s character of Frank Bascombe. In the relation between virtual singularities and actualized states we intuit a monism of immanence, while the singularities themselves in their spatial-temporal dynamisms dramatize the pluralism of ontogenetic individuation.
JD Dewsbury is a Senior Lecturer in Human Geography at the University of Bristol. His research interests cut across geography, performance studies and philosophy and address questions of performativity, spatiality and embodiment through post-continental philosophy, particularly that of Gilles Deleuze. JD is currently completing a monograph, provisionally entitled Performative Spaces: events, materiality, subjectivity.
School of Geographical Sciences, University of Bristol, UK
Zornitsa Dimitrova, Theatre of Objects – A Drama of Potentialities
This paper drafts out a theory of drama that foregrounds an Aristotelian insistence on becoming, yet dispenses with notions of purposiveness. A processual scenario of contingency – an ideal game that reaffirms chance – replaces models dependent on entelechy and teleology. As an aftermath, the notion of action loses primacy to give way to constellatory, encounter-dependent models. Potentiality, in our treatment, is a notion that incorporates a number of conceptual aggregates. A drama of potentialities views entities within its domain as enwrapped in a cloud of ever-shifting grades of Deleuzian virtuality and actuality. In this way, just as virtualities are always-already embodied in part, so are actualities never entirely in possession of their ‘actual’ faces. A drama of potentialities sees entities and their interaction in a continuum wherein the difference between bodies is not so much an evolutionary difference, a distinction made in thickness and degrees of agility, but a difference in intensity. Bodies fuse into one another and interact only inasmuch as they attune to the intensities of adjacent aggregates. Herein a body is a momentary composition intertwined with its worlds, a world’s inhabitants, and a field of continually shifting forces. A body or an object becomes a passage between degrees of vibration and its position in a world – an ethical and an ecological endeavour.
Zornitsa wrote her dissertation, Expression as Mimesis and Event, at WWU Münster and is currently working on a book project called A Drama of Potentialities. Her doctoral thesis drew a vision of drama governed by emergent ontologies of immanence and transcendence within an overarching immanent frame. Here Deleuzian ‘expression’ functioned as the active force within immanence and the generative procedure of mimesis. That is to say, it showed itself as the fortuitous side of a constitutive principle, attesting to moments of emergence as its motions mould the fabric of drama. Most recent work, however, focuses on participatory models whereby interaction ceases to be a human property and the notion of action loses primacy to give way to constellatory configurations. She has published on philosopher Gilles Deleuze; her research interests include event theories, theories of emergence, theatre studies, dramatic theory and mimesis.
Sophia Drakopoulou, The Prolongation of the Now and Moments of Social Awareness.
“In pursuing more of the present, we lose it completely” (Murphie, 2007: 125). The established use of ICTs in everyday life can be said to create a perpetual fluctuation of the present moment in time – the now. According to Bergson, duration is the process of conceiving the here and the now, moving in a forward motion towards the future – whilst retaining elements of the past (Lawlor, 2003). In Cinema 1, Deleuze discusses Bergson’s work in Matter and Memory specifically in relation to cinema, and the survival of virtual memory images into the present. (Deleuze, 1992 : 3). On social media there’s a kind of daily documentation of everyday life and activities that contributes a character of immediacy and nowness; everything is shared ‘in the moment’. Content is concerned with the here and the now, depicting activities that took place very recently - the present in made up by viewing images of the recent past. We are increasingly interacting with time-based interfaces that present information according to time hierarchy (most recent first). This paper employs the philosophical argument of the prolongation of the now to investigate whether this amplification of the present moment can indeed offer good practices of raising social awareness away from biased mainstream news and culture in Greece.
Sophia Drakopoulou is a Senior Lecturer in Media, Culture and Communication, Middlesex University. Her research explores networks technologies and everyday life, location-based technologies and the city, games and mobile media. She consults on social entrepreneurship and social media strategy and is a founding member of Cybersalon