Birgit Mara Kaiser, Writing and singularizing: rephrasing existential refrains with Cixous and Guattari
My paper brings together Hélène Cixous’ notion of writing – along with her ideas of poetry, the feminine and the unconscious – and Félix Guattari’s The Three Ecologies (TE), especially the notion of mental ecology. Both Cixous and Guattari articulate a compelling critique of the Subject and rewrite in the act a modus of subjectification that is yet to be filled with life; in a sense a creative critique, which brings into existence – resonating with Deleuze’s point (in ‘To have done with judgment’) that the trick of any critique might lie in the effort ‘to bring into existence and not to judge’. The critique (of theories) of the Subject (in Guattari’s case directed at Lacanian psychoanalysis, in Cixous’ case directed at phallo(go)centric, hierarchized sexual difference theorized via lack) is accompanied in both by a stress on the possibility to rupture, divert, rephrase, and invent new modi of existence. This possibility averts the mechanisms of what Cixous calls the ‘appropriative economy’ (Sortie 79) of the ‘(Hegelian) schema of recognition, [where] there is no place for the other, for an equal other, for a whole and living woman’ (79). They are interested instead in what Guattari calls ‘existentializing ruptures of meaning’ (TE 29) – ‘[a] singularity, a rupture of sense, a cut, a fragmentation, the detachment of a semiotic content […to] originate mutant nuclei of subjectivation […] entities that have no prior existence’. (TE 18)
Birgit Mara Kaiser teaches Comparative Literature at Utrecht University, The Netherlands. Trained in sociology and literature in Bochum, London, Madrid and Bielefeld, she received her PhD in Comparative Literature from New York University. Her research spans literatures in English, French and German from the 18th to 21st century, with a current focus on postcolonial and Francophone literatures and a special interest in aesthetics, affectivity and subject-formation. She is the author of Figures of Simplicity. Sensation and Thinking in Kleist and Melville (SUNY 2011) and has edited (with Lorna Burns) Postcolonial Literatures and Deleuze. Colonial Pasts, Differential Futures (Palgrave 2012), (with Kathrin Thiele) Diffracted Worlds – Diffractive Readings: Onto-Epistemologies and the Critical Humanities (special issue of Parallax 20/3 2014), and Singularity and Transnational Poetics (Routledge 2015). Her work also appears in International Journal for Francophone Studies, Textual Practice, Parallax, and Interventions. She has co-founded (with Kathrin Thiele) the Interdisciplinary Network for the Critical Humanities Terra Critica (www.terracritica.net)
Spyridon Kaltsas, Gilles Deleuze et Peter Sloterdijk: De la machine désirante à l’immunité bioécologique
Dans ma présentation, mon but principal est d’explorer les convergences possibles, mais aussi les divergences entre la pensée de Gilles Deleuze et celle de Peter Sloterdijk. Dans l’Anti-Œdipe, Deleuze et Guattari mettent en œuvre le concept de machine désirante qui, au-delà de l’anthropologie du manque et de la conception psychanalytique de l’inconscient comme représentation théâtrale, pointe vers la création et la multiplicité, la différence et la mobilité, vers une perspective relationnelle au-delà des idées de l’unité de l’organisme, du sujet ou de la psychè. De son côté, Peter Sloterdijk développe son ambitieux projet sphérologique pour faire tête, tout comme Deleuze et Guattari, à l’anthropologie du manque en concevant le processus de la construction du social à partir d’une ontologie plurivalente liée à la reconnaissance de la multiplicité. Dans ce cadre, la construction du social se présente comme un processus bioécologique de transmission de résonances transsubjectives (des « sphères », des « écumes ») et d’installation de climatisations atmosphériques qui rendent possible la création des structures immunitaires spatiales. De la théorie de la création des îles développée par Deleuze dans son essai sur l’île déserte, que Sloterdijk reprend à son compte pour décrire le processus de l’anthropogenèse, à l’image de l’écumisation de la société, la pensée de Sloterdijk ne cesse de se nourrir de la pensée de Deleuze.
Spyridon Kaltsas was born in Piraeus. He holds a Ph.D in Philosophy from the University of Paris-Sorbonne (Paris IV). He received his B.A. in Philosophy (Department of Philosophy, Psychology and Pedagogy) and his M.A. in Political Science and Sociology from the University of Athens (Department of Political Science and Public Administration). He is teaching philosophy at the Lifelong Learning Programme “Plato’s Academy” at the University of Athens. He has published articles on contemporary philosophy and social theory and his research interests include Critical theory, contemporary philosophy, social theory, political science and the philosophy of biology
Docteur en philosophie
Université Paris-Sorbonne (Paris IV)
Smaro Kamboureli, Un-folding Diasporic Identity
Deleuze and Deleuzian and Guattarian terms—notably deterritorialization, rhizome, assemblages, the body as a desiring machine, the anti-Oedipal—have long been in circulation in Canadian critical discourses, especially those engaging with diaspora. In many cases, however, the terms are employed out of context, appropriated and instrumentalized in ways that are often at odds with the incommensurable complexity of Deleuze and Guattari’s thought. As Reda Bensmaia asks, “Have [postcolonial critics] considered the distortions that can occur when concepts arising in Deleuzean philosophical practice are applied or borrowed non-problematically?” While this paper is not intended to engage directly with the discordant presence of Deleuzian and Guattarian thinking in Canadian diasporic discourses, it proposes to employ its circulation as a starting point to examine the relevance of Deleuze and Guattari’s thought to diasporic literature and the dominant paradigms through which it is read, notably an overwhelming emphasis on identity formation and identity politics that at once appears to be akin to and depart from Deleuze and Guattari’s concept of “minority.” More specifically, I intend to expand on my recent reading of Canadian literature as a corpus marked by an overdetermined, and “unrepented” (Deleuze and Guattari), familialism that demands a series of anti-Oedipal gestures through which we can begin to remove its masks of civility. Employing Rawi Hage’s Cockroach and Kim Thuy’s Ru as my case studies, and reading them through, principally, Deleuze’s The Fold and Foucault, I propose to develop a notion of diasporic subjectivity that problematizes the relationship of identity to “the verb to be” (Dialogues with Clare Parnet) in ways that release it from the Oedipal genealogies of the diasporic subject’s origins, as well as those of the Canadian “family.” Deleuze’s reading of Foucault offers an understanding of the visible and the articulable as two domains that define and are defined by the gap but also by the point of contact between them. This formulation encourages a reading of the diasporic condition in ways that depart substantially from the “Us” and “Them” paradigm and the familialism that continues to dominate diasporic discourses in the Canadian context.
Professor, Avie Bennett Chair in Canadian Literature, Department of English, University of Toronto
Smaro Kamboureli specializes in contemporary Canadian literature and diaspora and postcolonial theory. Before joining the University of Toronto as the inaugural Avie Bennett Chair in Canadian Literature, she was Canada Research Chair Tier 1 at the University of Guelph where, as the founder and Director of TransCanada Institute, she lead a number of collaborative projects. Her publications include On the Edge of Genre: The Contemporary Canadian Long Poem (1991), Scandalous Bodies: Diasporic Literature in English Canada (2000; 2007), which won the Gabrielle Roy Prize for Canadian Criticism, and the co-edited volumes Trans.Can.Lit: Resituating the Study of Canadian Literature (2007, with Roy Miki); Retooling the Humanities: The Culture of Research in Canadian Universities (2011, with Daniel Coleman); Shifting the Ground of Canadian Literary Studies (2012, with Robert Zacharias); Producing Canadian Literature: Authors Speak on the Marketplace (2012, with Kit Dobson); and Critical Collaborations: Indigeneity, Diaspora, Ecology (2014, with Christl Verduyn). She edited two editions of the anthology.
Thalia Kanteraki, Philosophy as creation of problems: Bergson and Deleuze
According to Bergson, the philosophical problems are not consist in discovering them, but in changing and posing differently the conditions which define them. This means that philosophy is conceived as an effort of invention or rather of reinvention of problems. It is generally accepted that Bergson had an influence on Deleuze's philosophy, but we intend to present the reading of Bergson by Deleuze on this essential subject for the formation of the two thoughts.Specifically, we present the two conceptions of philosophy as creation of problems based on the following points: i/ Criticism of false problems: A philosophical problem for Bergson is not just something to be discovered, but it has to be invented. Deleuze also affirms that philosophy is to invent, create and build concepts. ii/ The constant demand for fluid notions (Bergson) and the conception of philosophy as a continuous creation of concepts (Deleuze). iii/ The constitutive role of the philosophical intuition in Bergson’s thought in comparison with the Deleuzian notion of immanence. The theme of the conception of philosophy as creation of problems is part of the convergence of the two philosophers on the concept of novelty. Thus the philosophy is seen as a process of becoming and conceived as an act of creation.
Thalia Kanteraki was born in 1983 in Athens, Greece. In 2007, achieves a Research Master’s Degree in modern and contemporary Philosophy from the University of Ioannina, Greece. In 2014, defends a Doctoral Thesis in Philosophy under the status of joint supervision between the University Charles de Gaulle Lille 3 (France) and the University of Ioannina (Greece). Title of the thesis: “The effort in Bergson, his predecessors and his contemporaries”, under the direction of Frédéric Worms (ENS, Paris and University Lille 3) and of Ioannis Prelorentzos (University of Ioannina). Her interests inlude Ontology, Theory of knowledge, Philosophical psychology, Philosophy of religion. Publications: «The Bergsonian studies in Greece today», Annals of Bergsonian studies, Volume V: "Bergson and politics: from Jaurès till today", Paris, PUF, collection "Épiméthée", 2012, p.
Athina Karatzogianni, Hack or be Hacked: The Surveillance/Resistance Paradox and the Microfascism of the Centre
The individual, however distributed, rhizome, cyborg or quantified, still has to solve their own information communication problems. It is the individual that has to buy their digital equipment, access and literacy in form of consumption, education and training. And, it is the individual who has to acquire skills and software to protect their privacy in digital homes built by tech elites and regulated by governments (for security) and by corporations (for profit). Against this background, I argue that it is digital control and the assumption that it does not affect freedom, which fails to check the power of “digital planners”, the industrial complex formed by tech corporate and state elites. I examine the physics of microfascict ideology at the centre of the neoliberal spectrum employed to justify both the power and the source of this power over communication via surveillance within the digital surveillance complex and the relentless governmental crackdown on movements in favor of transparency and advocacy of new alternatives in the digital domain. Neoliberal social logics create diverse desiring machines in digital flows: virtual machines of schizorevolutions based on active desire to freedom and lines of flight against surveillance and control; microfascist machines immersed in extreme reactive desire attached to nationality, religion, ethnicity and race; and seemingly apolitical machines of alienation and consumption within networks of rapid technological acceleration.
Athina Karatzogianni is a Senior Lecturer in Media and Commnuication at the University of Leicester, UK. Her research lies at the intersections between new media theory, resistance networks and global politics, for the study of cyberconflict and the use of digital technologies by social movements, protest, and insurgency groups. She is the author of The Politics of Cyberconflict (2006), co-author with Andrew Robinson of Power, Resistance and Conflict: Social Movements, Networks and Hierarchies (2010) and other publciations can be read here: http://works.bepress.com/athina_karatzogianni/ Athina can be contacted at firstname.lastname@example.org
Nikolay Karkov, D&G's Becomings, or Why Pluralism = Pluralism: A Decolonial Feminist Critique
The relationship between A Thousand Plateaus' “pluralism = monism,” and questions of multiculturality and difference, reminds one of the major point of contention between two radical strands of U.S. legal theory: Critical Legal Studies (CLS) and Critical Race Theory (CRT). For CLS, the discourse of rights of useless, if not conservative politically, as rights are by definition indeterminate, inevitably involve ethical and political choices during adjudication, and further contribute to the excessive juridicalization of the social. For CRT, by contrast, the language of rights is indispensible, as one of the few bulwarks against the settler colonialist state. The dialogue between the two, while pressingly needed, has thus been fraught with tension from the start. Or, to borrow from Henry Dalton: “The black, brown, red, and yellow folks who have circled around CLS's doors in fluctuating numbers ... [are] always invited for tea, but rarely invited to stay for supper, lest we use the wrong intellectual fork.”This presentation takes its cue from the conflict-ridden relation between CLS and CRT to argue that, similarly, Deleuze and Guattari's radical ontology poses no minor problems, when looked at from an angle it itself is ill-equipped to see. I interrogate that tension by foregrounding a key concept in their processual ontology, that of becoming, and its various modalities. For the two French theorists, a progressive line of liberation can be traced in processes of becoming, as one moves from becoming-woman to becoming-animal, toward what they call becoming-inperceptible. I then read this account from the perspective of what has recently been termed “decolonial feminism” (Lugones, Tlostanova, Bouteldja), which argues that Western Modernity, even in its most radical instantiations, produces a dark side, coloniality, which is the basement where Modernity hides is skeletons. More particularly, decolonial feminism argues that the category of gender did not apply historically to non-white females in the global South, who, moreover, were seen as closer to animals than to humans. Consequently, I argue not only that “becoming-woman” absents actual women out (Jardine, Grosz), or that “becoming-animal” marginalizes the work of social reproduction (Shukin), but also that, in a deep way, neither concept has much to offer a decolonial feminist politics: becoming-woman, because it posits (assumptions about) white women as normative, and becoming-animal, as it completely overlooks a history of bestialization that undergirds the experience of (non-white) women from the global South. Rather than progressive liberation, the line from Man through becoming-woman toward becoming-animal emerges here as one of oppression and domination. Over against D&G's insistence on the equivalence of monism and pluralism, then, we need to insist on keeping these terms separate: pluralism = pluralism ≠ monism. The time of Western (Northern) metanarratives is over, and any effort to resurrect them, even under the guise of as progressive a social ontology as D&G's, may only replicate the one-sidedness of the CLS critique. Deleuze and Guattari are useful as long as they do not become the keyholders (or even gatekeepers) of all radical visions of the future.
Dionysios Kavvathas, The unconscious: its machines and their malfunctions
The introduction and reevaluation of the concept of the machine by Deleuze and Guattari is founded on both techno-theoretical presuppositions and affective investments that are characterized by the strategic aim to connect technology with the field of social organization, the mental apparatus, and biological autopoiesis. Taking as their point of departure the critique of the deterministic symbolic order of the machine, which dominates the structuralist period of the Lacanian primacy of the signifier, Deleuze and Guattari develop, beyond the opposition mechanistic/vitalistic, a complex notion of the machine, in the context of which the object machine serves, paradoxically, as spontaneous subjectivity or, more precisely, subjectivation. This positive instance is represented by the notion of desiring-machine, which is indicative of a shift from a Lacanian theory of the signifier to a pre- or a-signifying semiotics directed at the same time against the automatic mechanism of repetition. This paper stresses the political, liberating dimension of the machine in light of Deleuze and Guattari’s dispute with structural psychoanalysis, which, according to the two writers, attempts to establish a theory of the unconscious through a cybernetic and consequently regulative/homeostatic conception of the machine.
Dionysios Kavvathas has studied Philosophy at the Free University of Berlin. He is Assistant Professor of Media Philosophy and Aesthetics at the Panteion University of Athens and teaches media theory in the MA Program in Digital Arts at the Athens School of Fine Arts. He is a member of the editorial board of the Greek journal for psychoanalysis, philosophy and the arts, αληthεια. He is also the editor of the Greek translations of Friedrich Kittler’s Gramophone, Film, Typewriter (Athens: nisos, 2005) and Discourse Networks (Athens: Smili, forthcoming). He is a specialist in Nietzschean philosophy and has written widely on the aesthetic function of media and their historical transcription through digital technologies. As editor of the series Media Philosophy and Aesthetics for Smili Publications, he has edited works by Vilém Flusser, Norbert Bolz, Dirk Baecker, and Michel Serres. He is currently writing a book on models of memory from Plato to Turing.
Yasuto Kiyama, Non-transcendental philosophy of Bergson-Deleuze against Kant.
To evaluate the precise depth of the philosophy of immanence, it is necessary to fight against Kant. As a part of such study, my discussion traces a variety of Bergsonisms in Deleuze (and Guattari), especially that in Le Bergsonisme and Qu’est-ce que la philosophie ?. It is known that Deleuze inherits some concepts from Bergson, but the importance of his inheritance consists in providing Deleuze with a way to overcome the critical philosophy and to seek another philosophy. In fact, since his first writings, Deleuze opposes Bergson to Kant, and this opposition (especially from the viewpoint of the coexistene) persistes in Qu’est-ce que la philosophie ?, with some transformation. The transformation is found in the fact that Le Bergsonisme considers the concept of Memory as the key of bergsonnian ontology, while Qu’est-ce que la philosophie ? pays attention, not to memory, but to the first chapter of Matière et mémoire, in which Bergson develops the theory of “pure perception”. I intend to explore the reason of this transformation and to prove that it results form two different ways how Deleuze fights against Kant, one is the conception of "degrees of difference" and the other is that of "distinction between quid juris and quid facti".
The University of Tokyo (Japan), L'Université de Toulouse Jean-Jaurès (which was Toulouse II Le Mirail), (France) PUBLICATIONS: « Les données perceptive et ses sens chez Bergson » (en japonais), Études Philosophiques (Ronshu), vol.31, Département de philosophie de l’ Université de Tokyo, 2013. « Le context psychologique du concept de « plans de consciences » chez Bergson » (en japonais), Études Philosophiques (Ronshu), vol.32, Département de philosophie de l’ Université de Tokyo, 2014.
Maria Komninos, Image and time: the director as film historian
The Deleuzian concept of image time is compared with notions of time and history as developed by Walter Benjamin who contrasts historicism with a historical materialist position. Benjaminian concepts such as “dialectical image” and “telescopage” are compared with the Deleuzian notion of purely optical and sound situation that fill the space when something is “too powerful, too unjust, but also too beautiful and which outstrips our sensory motor capacities”. The notion of time is central in examining the work of major filmmakers as film historians. These tools will be used to examine cinematic representations of crucial historical conjunctures in films of the Greek auteur Theo Angelopoulos such as the Traveling players (Greek history in the period of ww2, Occupation the civil war and the aftermath of the defeat of the Left in Greek politics) and Ulysses gaze (the entry of “Angelus Novus” in the Balkans, following the fall of communist regimes in 1989). I will compare the use of image time by Angelopoulos with contemporary Chinese auteur Zia Zhag Ke in Touch of Sin ( 2012), who inspired by Angelopoulos, also using a cyclical notion of time to present an anatomy of crime and corruption in modern China.
Maria Komninos is Associate Professor at the Faculty of Communication and Mass Media Studies of the National and Kapodistrian University of Athens and a member of the Board of Directors of the Greek Film Archive. She has researched and taught in London as honorary research fellow at the Department of History of Art, Film at Birkbeck College. She is also director of Athens Avant Garde Film Festival. She is finishing her book, "Greek Cinema", to be published by Reaction Books
Anthi Kosma, Diagrammatic Narratives: Graphic Fields of Rupture and Catastrophe
The article intends to clarify the Deleuzian concept of diagram and how this one although it is against an ocularcentric culture, clichés and canons of representation often it is being dismissed from traditional attitudes and perceptions in the field of architecture. Diagram in painting for Deleuze is described with the stage of the catastrophe of the frame. It is the gesture that goes against the clichés and the bias and also the opening of an abysm that gradually is organized. This diagrammatic writing and catastrophic gesture, a field of forces and links, is described in the article through a series of narratives from an “inside” point of view as an action and as an exploration. In these short stories based on the work of Deleuze with references form Nancy, Rancière, Seguí, the repression caused by the repetition of the everyday practice, routine and the effort of the designer to go against his bias producing new graphical situations and experiences of strangeness are described through a non systematic narrative. Diagram is presented more as an action, a gesture through a description that is interested more in whom and how than what a final product represents, as a way of exploration that cannot be explained logically.
Anthi Kosma (1980) received her diploma of architect – engineer from DUTH (Greece). She holds a PhD and DEA from ETSA of Madrid, UPM (Spain) with a scholarship from IKY and Triantafyllidis foundation. You can find written, drawn and other traces of her at: http://imprografika.wordpress.com/ email@example.com
Elizabeth Kouki, Στην Κλινική της La Borde: μια μαρτυρία
Το πλέγμα είναι ένα από τα στοιχεία που χαρακτηρίζουν την Κλινική της La Borde ως υποδειγματικό εγχείρημα Θεσμικής Ψυχοθεραπείας. Συλλογική διαχείριση χώρου, χρόνου και ρόλου των προσώπων που απαρτίζουν, μέσα από τη συνεχή επανεπεξεργασία του, τον ψυχιατρικό θεσμό, το πλεγματικό οργανόγραμμα ανοίγει σε ριζωματικές διαδικασίες και δημιουργεί πολλαπλά σύμπαντα αναφοράς, ενσαρκώνει δηλαδή ως πράξις κομβικούς άξονες του στοχασμού (πολιτικού και ψυχιατρικού) του Félix Guattari. Το πέρασμά μου από την Κλινική της La Bordeστα τέλη της δεκαετίας του ’70, ήταν για μένα η εμπειρία μιας μαθητείας επιθυμίας και ελευθερίας.
H Ελισάβετ Κούκη sπούδασε ψυχολογία στο Παρίσι όπου έζησε και εργάστηκε ως ψυχαναλύτρια. Μεταξύ 1976 και 1982 εργάστηκε στην κλινική της Λα Μπορντ που διηύθυνε ο Ζαν Ουρύ και ο Φελίξ Γκουατταρί. Συμμετείχε στην ομάδα ψυχαναλυτών που επιμελούνται την έκδοση των Απάντων της Φρανσουαζ Ντολτό στις εκδόσεις «Gallimard», και έχει μεταφράσει μεγάλο μέρος του έργου της στα ελληνικά, στις εκδόσεις «Εστία», «Πατάκη» και «Σμίλη». Περί τα τέλη της δεκαετίας 1970, σπούδασε αρχαιολογία. Ασχολείται με την ερμηνεία και τη θεραπευτική λειτουργία του ονείρου στην κλασική αρχαιότητα και μελετά συστηματικά το έργο του ρήτορα Αίλιου Αριστείδη (2ος αι. Μ.Χ.). Το 2012 παρουσίασε από τις εκδόσεις «Σμίλη» σε πρώτη απόδοση στα νεοελληνικά, σχολιασμένη το Αίλιος Αριστείδης. Ιεροί λόγοι. Γλώσσα και σώμα στα όνειρα ενός ρήτορα. Πρόσφατα μετέφρασε το βιβλίο του Φελίξ Γκουατταρί Από τη Λέρο στη Λα Μπορντ στις εκδόσεις «Κουκκίδα».
Iordanis Koumasidis, ''Αισθητικές νύξεις και προκείμενες στo Τί είναι φιλοσοφία των Ντελέζ-Γκουαταρί''
Το ενδιαφέρον του Ντελέζ για τα ζητήματα της τέχνης δεν περιορίζεται στα έργα του που αφορούν την ίδια καθεαυτή (όπως η εξαιρετική του εργασία πάνω στον κινηματογράφο): η αισθητική -ή, ευρύτερα, οι νύξεις που προέρχονται από το πεδίο της τέχνης- αποτελεί η ίδια επεξηγηματικό εργαλείο στην προσπάθειά του να ορίσει τη φιλοσοφία. Παραθέτουμε και σχολιάζουμε τις αισθητικές και καλλιτεχνικές αναφορές που χρησιμοποιούν οι Ντελέζ-Γκουαταρί στο Τι είναι φιλοσοφία, αναφορές που λειτουργούν είτε κατά βάση με με παραδειγματικό τρόπο (πρώτο μέρος του βιβλίου, ενδεικτικά: Αρτώ, Ντοστογιέφσκι, Μέλβιλ, Πεγκύ) είτε ανακηρύσσονται σε βασικό πόλο του τριμερούς φιλοσοφία-επιστήμη-τέχνη που λαμβάνει χώρα εντός της αλληλοδιαπλοκής εννοιών-συναρτήσεων-παραστάσεων (δεύτερο μέρος). Στη δεύτερη περίπτωση, η έμφαση δίδεται στις εικαστικές τέχνες, με το έργο τέχνης να νοείται κατά βάση ως ''δέσμη αισθημάτων, δηλαδή ένα σύνθεμα παθημάτων και παραστατών''. Παρακολουθείται επίσης η ανακήρυξη της σύνθεσης ως αισθητικό a priori και ορισμού της τέχνης. Διερευνούμε, τέλος, την τροπή που δίνουν αυτές οι νύξεις στην κατεύθυνση της φιλοσοφίας της διαφοράς (πλουραλισμός, σκέψη της πολλαπλότητας) με τρόπο παρεμφερή της προσέγγισής του Ντελέζ στο Proust et les signes. Επισημαίνουμε πως στο Τί είναι φιλοσοφία τούτο συμβαίνει, μεταξύ άλλων, μέσω της θεμελίωσης ενός αντίστοιχου παρά-πεδίου που ορίζεται από το μή- στο οποίο κάθε φορά αναφέρεται (φιλοσοφία- μη φιλοσοφία, τέχνη – μη τέχνη, επιστήμη – μη επιστήμη).
Iordanis Koumasidis was born in Thessaloniki in 1979. He is Doctor of Philosophy of Aristotle University of Thessaloniki (A.U.T.H). He has translated and edited philosophical and literature books on Greek. He has participated on many local and international congresses. Dr. Koumasidis has published a book about philosophical aspects on Godard's film In the Praise of Love and a second regarding the relation between socialism and democracy (2012). His scientific interests extend to the fields of contemporary french thought, political philosophy, aesthetics, psychoanalytic theory and literature. He is cooperating with University of Western Macedonia.
The aim of this paper is twofold; on the one hand to highlight aspects of a pluralist methodology which would encompass population, intensive and virtual modes of thinking so as to account for the emergence of complex urban phenomena. On the other, to problematize the emergence of the most prominent element of the Athenian urban ecologies, the polykatikia. What hopefully will become evident via their parallel development is the need for a paradigm shift in which the given is considered as incapable of explaining anything; on the contrary, it itself needs to be explained by determining the conditions under which it is actualized. It is through this shift that the complexities of urban ecologies can be examined in their full potential, excluding interpretations which fail to avoid being either transcendental or solely empiricist, while maintaining the capability of synthetically incorporating non-actualized events. Thus, an open-ended research process of urban and architectural emergence is structured, able of being simultaneously analytic and synthetic, aiming to affect not only the way we comprehend and consume space, but also the way we record and produce it. A research process which problematizes abstract design principles and choices via linking them with their actualization: urban and architectural theory with material practices.
Stavros Kousoulas received his Masters in Architecture from the Faculty of Architecture of the National Technical University of Athens in 2009. In his Graduation Project he investigates alternative inhabitation models for Athens. He received his second Masters in Science degree from the Faculty of Architecture at Delft University of Technology in 2012 with an honorary mention. His main research interest focuses on morphogenetic processes through the prism of assemblage theory. He has been involved academically as a lecturer in diverse institutions in Europe. Since 2012 he has been active in the capacity of guest teacher to a variety of design studios, theory seminars, workshops and courses in the Faculty of Architecture of TU Delft. Stavros is a PhD candidate at the Theory Section of the Faculty of Architecture of TU Delft.
Marinos Koutsomichalis, Rhizomatic Soundscapes
This paper attempts an ontological analysis of Soundscapes and a scrutiny of their integrals in material, phenomenological and ecological respects. It is herein argued that Soundscapes oscillate through several modalities of human existence such as cognitive, perceptional, psychological, physiological, emotional, sexual, social, political and other schemata that appear to govern the ways in which individuals or broader groups of individuals engage with environmental sound and the ways in which are themselves biased and modulated by the former. Drawing from Deleuze and Guattari, it is eventually suggested that Soundscapes are conceptualised as complex rhizomatic and ever-differenciating hybrids that are only given flesh through a process of multi-modal cross-actualisation established between their various biotic and abiotic constituents as well as between the various forms of consciousness that engage with it or that inhabit it.
PhD Candidate, DeMontfort University, firstname.lastname@example.org
Marinos Koutsomichalis (Athens, 1981) is an artist and researcher. Via sound and a wide range of other media he interrogates the specifics of perception, technology and material and by means of a hypermedia, project-based and site-responsive methodology. He has worked as research fellow in the University of Turin and has lectured in the Technical University of Crete and in the Contemporary Music Research Center (CMRC-KSYME). He has being responsible for numerous scientific publications and for numerous workshops/talks worldwide. He is a Candidate PhD in Music, Sound and Media Art in De Montfort University (Leicester, U.K.) and has an MA in Music by the University of York (U.K.). As an artist he has widely presented his work internationally in all sorts of milieus ranging from leading museums and acclaimed art festivals to industrial sites and from churches to scientific conferences. He has produced artworks in collaboration with various institutions worldwide.Amalia Liakou,
Aspasia Kouzoupi, The concept of map into the Homeric Odyssey
In the Homeric Odyssey, along the stream of Odysseus’s ‘Nostos’ journey towards Ithaca, the plot’s structure comprises narrations, expressed by Homeric culturally defined creatures, including Odysseus. The starting point for the present paper is an observation: in these narrations we can identify specific spatial traces which concern the perception and structure of landscape.
The map, as we read through the paradigm of the orchid and the wasp by Deleuze and Guattari [Deleuze and Guattari, 1987 p.12], exhibits the relation of mutual transformation between wasp and orchid, or, as we suggest, intruder and receptacle. In this relationship both the receptacle and the intruder are identified as subjects. In our reading, the narrator and the landscape tend to take the place of the wasp and the orchid, respectively. Landscape and narrator participate in the joint process of the map formation, forming spatial constructs incorporated in the narration.
By brief analyses of the landscape structures manifested through some of these Homeric maps, our approach examines, in regard to the paradigm of the map by the orchid and the wasp, the active relationship between map, landscape and narrator. Actions/reactions which derive from these maps extend beyond the initial verbal testimonies, in time and space.
Aspassia Kouzoupi holds a diploma in Architecture from the Aristotle University of Thessaloniki [AUTH], a Masters of Advanced Studies in Landscape Architecture from ETH/Zurich, and a diploma in Fine Arts from the National School of Fine Arts of Athens. She currently is a PhD Candidate at the Architecture Department of AUTH. She has taught courses related to landscape, as an Adjunct Lecturer, at the Universities of Thessaly and Patras, since 2007. In 2000 she co-founded the team “Sculpted Architectural Landscapes”, in collaboration with landscape sculptor Nella Golanda, realizing urban scale landscape architecture projects, at urban and peri-urban sites. Some of these projects were finalists for significant European Prizes [Rosa Barba Award / European Prize for Urban public Space], or have received honorary mentions in Greece. Her work is featured in international publications of architecture, landscape, and art.