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.
z.d@uni-muenster.de
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 [1983]: 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
(http://www.cybersalon.org).
s.drakopoulou@mdx.ac.uk
