Abstracts M 2

Angela Melitopoulos, Assemblages

Angela Melitopoulos' and Maurizio Lazzarato's audio-visual research project and video installation Assemblages looks at Félix Guattari revolutionary psychiatric practice, his political activism as well as his ideas concerning ecosophy and his interest in animism especially in the Brazilian and Japanese context. In Guattari's work and in the same manner as in animist societies, subjectivity loses the transcendent and transcendental status that characterizes the Western paradigm. Guattari’s thought and that of animist societies can find common ground in this understanding of subjectivity. Aspects of poly-semic, trans-individual, and animist subjectivity also characterize the world of childhood, of psychosis, of amorous or political passion, and of artistic creation. Assemblages montages excerpts of documentaries, essay-films, radio interviews and sound archives with research interviews (Eduardo Viveiros de Castro, anthropologist; Éric Alliez, philosopher; Jean Claude Polack, psychiatrist; Jean Jacques Lebel, artist; Barbara Glowczewski, anthropologist; Peter Pál Pelbart, philosopher; Janja Rosangela Araujo, master of Capoeira Angola; Suely Rolnik psycho-therapist and cultural critic) into a vertical three channel video installation. The lecture focuses on the artistic concept of the installation and montage of these materials with the aim to discuss a history of Guattari’s politics of experimentation in that collective artistic practices became a laboratory for political concepts. The video installation ‘Assemblages’ alludes itself to a form of machinic animism that reflects the experimental methodologies in artistic research. The current project of Melitopoulos/Lazzarato focuses on the concept of the refrain and the war machine in anti-military protest movements in South East Asia. In collaboration with filmmaker Angela Anderson and the current anti-mining protest movements in Skouries, Melitopoulos relates the concept of the refrain to the reality of an unearthing disaster.

Angela Melitopoulos is an artist in the time-based arts based in Berlin. She studied fine Arts with Nam June Paik. She realizes audio-visual research projects and shows multi-screen installations, archival performances, expanded cinema formats, documentaries, still image displays and sound pieces. Duration and micro-processes in mnemonic narratives inform her essayistic concepts in documentation. Her work reveals a nomadological approach that relates mobility to the production of subjectivity, the agency between collective memory and the precept of geography. Since the 1990 ties she collaborates with the sociologist and philosopher Maurizio Lazzarato. Her videos were awarded and displayed in numerous international festivals, exhibitions and museums (f.ex. Taipee Biennial, Generali Foundation Vienna, Berlin Film Festival, Antonin Tapies Foundation Barcelona, KW Berlin, Manifesta 7, Centre Georges Pompidou Paris, Whitney Museum New York). She is teaching as a professor in the Royal Academy of Arts in Copenhagen

Xhercis Mendez, Battling Silent Chaos: The Refrain and its Decolonial Potentials

There is a silent chaos that organizes the lives of some people more than others. At different levels this silence of order, of normalizing ways of occupying space performs a significant reduction in the ways in which People of Color are “allowed” to inhabit “the World.” These reductions form part of what I consider to be a silent chaos. It is silent because of the silences around race, class, gender, sexuality, age, ability, and the intersections of and between them all. It is chaos because these silences are intrinsic to the assault on bodies of Color. They form part of the infinite layers of web that trap us at every turn. In this way, traveling into the hegemonic “reality,” the only significant “World” of meaning for Eurocentric thinkers, for folks of Color means occupying the space of disorder, the space where bodies of Color have to be hyper-vigilant in order to dodge the bullets and avoid the pitfalls associated with our own dehumanization. This silent chaos orders, norms, envelopes, and imprisons our thoughts and our bodies, as it delineates the rules on how we are to occupy space using discipline and power. It is from experiencing as well as witnessing the battle with this silent chaos that I attempt to explore the decolonial potentials of Deleuze and Guattari’s concept of the Refrain.


Ioulia Mermigka, Sci- Fi Cinema and the People to Come

In “What is Philosophy?” Deleuze and Guattari say that philosophy works ‘to summon forth a new earth, a new people[..]. Art and philosophy converge at this point: the constitution of an earth and a people that are lacking as the correlate of creation’ . In the “Cinema II” Deleuze says about political cinema:" it would be on this basis: the people no longer exists, or not yet... the people are missing” . I will address, on the one hand, the issue of a politics of cinema and film theory in contemporary commercial American sci-fi production and how a militant-superheroic, ideological-paranoic cinematic "empire" is expanding its post-media propaganda based still on the notion of the people. On the other hand, I will more thoroughly discuss Shane Carruth's “Upstream Color” (2013), considering it a work of minor cinema, not only in terms of production and distribution. In its series of bodily affects, chronosigns, lectosigns and noosings, as the form of content, I will juxtapose, in the form of expression, its series of becomings: becoming-woman, becoming-animal, becoming-sound, becoming-disobedient, becoming-music, becoming-animal, so as to argue that the cry for the “people to come” is heard only after the mourning of the breaking of the cycles of the aesthetics of the common sense and “only as that people continues its becoming”.

Dr. Ioulia Mermigka is an Athenian-based independent scholar, teaching Cultural Studies, Cinema and Philosophy in Lifelong Learning programmes of the University of Athens and is a teaching fellow of the Communication and Mass Media Studies Faculty of the University of Athens. She also collaborates with the Greek Film Archive. iouliamermigka@gmail.com

Phoebe Moore, (co-author Andrew Robinson, Independent Researcher) The Politics of Wearables: The Quantified Self at Work

The quantified self movement (QSM) is an emerging trend identified by a range of technological devices used for self-tracking. Such technologies can be used for first-person digital ethnographies, lifelogging, and self-tracking of mental and physical activities as well as recording surroundings and actions also seen in the police force (Atkinson, 2014) and professional sports (Wade, 2014). Emerging discussions in the QSM neglect to identify the exploitative, political economy aspects of such technologies, usually portraying them as improvements in self-knowledge and happiness (see recent Goldsmiths/Rackspace report and Wilson, 2013b; Nield, 2014). QS technologies treat body and mind as interconnected and inseparable, challenging the dualism of body and mind in practice even while affirming it in rhetoric. However, they tend to unite body and mind under the sign of mind, as techniques of managerial (mental) control, what Rose (2001) terms the 'politics of life itself'. The difficulty, however, is that this politics does not speak to ‘life itself’, any more than Fordism or medievalism. What it speaks to is a particular quantitative, spatial representation of life. From a Deleuzian-Bergsonian viewpoint, what is missing here is any awareness of the dimension of life as such – the field of the temporal, of becoming and differenciation, and of the unique experience of life – in Marxian terms, of labour-power prior to its equivalential capture by capital.

Phoebe Moore is an active researcher and a Senior Lecturer in International Relations at Middlesex University London. She is currently writing about the quantified self at work and decent work as an internationalising concept and has previously published on the dangers of the revolving door in private and public in educative spheres from a neo-Gramscian perspective and the control of the self in digital work and peer to peer production. She has published a number of books, articles and reports about labour struggle, industrial relations and the impact of technology on everyday lives.


Konstantinos Moraitis, Design of earth movement: Objects, buildings and environment conceived as landscape formations

Though primarily philosophical, Deleuzean theory is in many ways relevant to cultural references of practical importance. We shall discuss in particular its relation to a contemporary conception of Landscape, which approaches earth surface as a morphogenetic environment under constant transformation. Principally related to Baroque period, Deleuzean proposal on “Fold”, “Le Pli”, finally refers to the contemporary interest in topological geometry and moreover to the possibility of expressing this contemporary topological ‘anxiety’ in design and constructional practices. Originally initiated as a 17th century Leibnizian effort, topology was not largely developed till the beginning of 20th century, while its application in urban and landscape design occurred only recently, as a consequence of the advancement of contemporary computational simulation techniques. Thus the well-known Gilles Deleuze’s book on “Leibniz and the Baroque” seems to present in detail the first pole of the growth of topological thinking; that of the 17th century. The second pole, the contemporary one could be presented by Deleuze’s relation to Bernard Cache and through him to the maturation of the computational design practices. What is certainly missing from the Deleuzean project on fold is a detailed reference on geometrical “anamorphosis” as applied in Baroque garden design. Through anamorphic treatment a hidden undulation of earth surface was created, clearly related to landscape folding formations, as conceived by contemporary architectural, urban and landscape design.

Doctoral Thesis under the subject: Landscape – allocating place through Civilisation. Exposition and theoretical correlation of the most significant modern approaches concerning landscape (School of Architecture NTUA). Postgraduate Studies of Ethical and Political Philosophy, Seminar of Aesthetic Philosophy (Université I de Paris, Panthéon-Sorbonne, 1980-1981). Postgraduate Program of Arabic and Islamic Studies (Pantios School of Political Sciences, Athens, 1981-1982).Teaching in NTUA since 1983. Responsible for the postgraduate seminar of “History and Theory of Landscape Design”. Publications of architectural projects and scientific articles, participations in collective editions, author of tutorial book, concerning landscape design. Numerous distinctions in architectural competitions in Greece and Cyprus. Two 1st prize distinctions in International Architectural Competitions: Urban and Landscape Design for the city of Lviv – Ukrania (2008), Design for the Centre of Holistic Medicine in Allonisos – Greece (1998). Member of the Greek Philosophical Society. Member of the Hellenic Society for Aesthetics.

Email: mor@arsisarc.gr

Mohamed Moulfi, Géophilosophie et révolution chez G. Deleuze.

L'intérêt de la problématique de la géophilosophie, articulée aux questions de la territorialisation/déterritorialisation, de la géo-histoire, des rhizomes, etc., se trouve dans l'enjeu de la vision de G. Deleuze et F. Guattari, qui veut que la philosophie se déploie selon les ordres de la transcendance et de l'immanence. Le premier ordre est déterminé par l'origine grecque. Si l'origine n'est pas aussi déterminante, elle ne décide pas moins du rapport constitutif avec la non-philosophie. C'est dire la nécessité de penser l'autre ordre dans lequel s'arrachent les "géophilosophies", comme rencontre de la philosophie avec les cultures. Mais le devenir de la philosophie est-il seulement l'effet d'une "axiomatique immanente" dont résulte une Bestimmung, comme destination de la philosophie, grecque de naissance, et comme détermination de la variation historique et culturelle de son expression ? Avec cette question, on atteindra à la proximité pensée par G. Deleuze et F. Guattari de la révolution qui, comme la philosophie, est résistance au présent et ouverture sur l'imprévisible, le nouveau, le remarquable, l'intéressant, caractères au cœur de la problématique du devenir et de la traductibilité. D’où l’exigence de tenter de répondre à la question du rapport historique des destinataires de la destination "secrète" pour comprendre la philosophie dans son historicité et dans l’historicité de la destination générale qui s’appelle l’Occident.

Mohamed Moulfi est Professeur de Philosophie à l'Université d'Oran (Algeria).Membre de Internationale Hegel-Gesellschaft e.V, Berlin (2007). Advisor Editor dans Décalages. Althusser Studies Journal (Los Angeles) (2013).

Auteur de Engels : philosophie et sciences (Paris, L’Harmattan, 2004), et d'autres articles in Dictionnaire critique du marxisme (G. Bensussan et G. Labica, dir., Paris, PUF, 1985 and 1999) ; in Dictionnaire du darwinisme et de l’évolutionnisme (dir. P. Tort, Paris, PUF, 1997) ; Derrida : Le sens du monde, in Sur les traces de Derrida, (Toulouse, Actes Sud-Alger Barzakh, 2009) ; Philosophie et falsafa, in Revue de Métaphysique et de Morale, n° 4, 2009 ; De l’Etat à l’Etat politique. Notes inchoatives sur l’instauration démocratique, in Studia Politica, n° 3, 2011 ; Notes sur l’Ausgang, in Georges Labica : Philosophie en colère, CNRPH, Alger, 2012 ; Propos sur la question de l’interculturalité, in Revue Laros, n° 8, avril 2011 ; Althusser, lecteur de Machiavel, in Décalages, an Althusser Studies Journal, Los Angeles, 2013 ; Hegel et la négativité. Philosophie et histoire, in "Hegel and modernity", Hegel-Jahrbuch, Berlin, 2014 ; Recension Robespierre. Une politique de la philosophie de Georges Labica, in Contretemps, n° 20, 1er trim. 2014.


Athena Moustaka

The active and vibrant agency of matter within a network of human and non-human agencies, has been limitedly explored in the bibliography with regards to the potential it offers for understanding what shapes an architectural experience.

My research investigates the listed concrete in a post-war Social Housing development. The way non-human actors operate with human ones in a network of agencies is revealed through its lens. The material exposes how its properties act within a network of social, visual and aesthetic parameters, critically positioned between extremities that on the one hand view matter as an inert component of the built environment and material determinism on the other.

In this presentation I will start by drawing upon Deleuzian vocabulary to describe the building as an assemblage of human and non-human actors all operating in a network.

I will then focus on the notion of comfort which I argue should not be confined to a tight definition but should include parameters of the visual, social and the aesthetic.

The ability of concrete to serve multiple purposes and morph into different roles is what causes a building assemblage to behave in a comfortable or uncomfortable way; never in an absolute manner but always in-between; never linearly but always lacking causality; never seeking to be finalized but always changing.

Athena graduated with a degree in Architecture from the Aristotle University of Thessaloniki in 2005, and a Masters from the Welsh School of Architecture. She is currently a graduate student and teaching assistant in the University of Manchester, and a Chartered Member of the Royal Institute of British Architects (RIBA) maintaining strong links with Architectural Practice.

Athena is currently writing her thesis in object-oriented architectural ontologies, advised by Professor Albena Yaneva and Dr. Isabelle Doucet. Her research focuses on the role of concrete as a vital material agent. In her work, concrete is viewed through the perspective of new materialist ontologies, through which it becomes active in shaping the experience of the built environment. She has previously presented her work in the Universities of Liverpool, Central Lancashire, and Manchester Metropolitan.


Charity N. Mwaniki and Eric Harper, The production of an anxiety dream space machine

The problem we wish to address is the ever increasing construction of docile bodies and chemical imprisonment of those categorised as mad, bad or sad. We outline the paradoxes of treatment for those labelled as having mental health and dual diagnostic challenges. Talk of supporting choice, reengagement with the community and building resilience occurs alongside the enforcement of treatment compliance, surveillance and recording of daily behaviour and the construction of barriers that prevent access service, especially for individuals from non-western backgrounds. The unofficial aim is to construct places that flatten out excessive and unwanted intensities and affects that make ‘us’ feel unsafe! How different this to dreaming and dream space laboratories where there is a metamorphosis of the persons relationship to their surroundings. What can an anxiety-dream machine do? It has the potential to create new assemblages that invites life as opposed to sleep walking. The anxiety-dream machine is a space where there is the potential breaking and unfolding of those habitual lines imprinted on the flesh thereby allowing for movement. This force field provides a potential de-territorialisation, a transversal that plays with many relational possibilities that always include an ‘AND’ - me and not me and mother and self and teddy and image and animal and thoughts and sensations and affects, AND... We consider the spontaneous construction of spaces that allow for anxiety dream time as they support people in their journey across unbearable intensities and compare this with the formal institutional settings.

Charity Njoki Mwaniki is an architecture graduate and is currently a resident artist at Numbi arts. She has exhibited works at Oxford House in London as part of the Somali Week Festival and at the Art Market in Budapest as part of the La Grande Migration. She has one publication Multiple Dreams. From Hillman to Deleuze. Harper, E and Mwaniki, C Mantis Publications. Jungian Journal. 2014.