: Micropolitica: Cartografias do desejo. GUATTARI; ROLNIK. Micropolítica cartografias do desejo Uploaded by lubuchala GUATTARI; ROLNIK. Micropolítica cartografias do desejo. Micropolitica: Cartografias Do Desejo. Front Cover. Félix Guattari. Vozes, – pages Bibliographic information. QR code for Micropolitica.
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As in similar practices unfolding around the world today, one of the characteristics of the current strategies is an extraterritorial drift, as Brian Holmes pointed out.
The soft timbre of a joy of living resurfaced and brought me back to Portuguese, less desejoo than before.
Deleuze, Schizoanalyst – Journal #23 March – e-flux
We too are hit by this strange xesejo, transported by it—the pain of a vigorous life that does not want to be taken resonates in our bodies. I was cured, not of the marks of pain left by the fury of despotism, as these are indelible, but of their toxic effects. Their struggle, however, ceases to be limited to the plane of political economy, to encompass the planes of the economy of desire and the politics of the image.
In the miserable cold of a Christmas night in her town of exile, Lulu hits the streets to make some money. The extradisciplinary trend that arose in the s cartovrafia a response to this dead end, and to the questions that emerge from the edsejo of neoliberalism, whose international hegemony coincides with the appearance of this generation of artists.
Guattarii this sense, it is important to recognize that Lygia indeed abandoned the field of art and opted for therapy, after her brief passage through the university. He stands before us, large as life, the old artist in his museum.
The artist has indeed digested the object: But the restrictive vector could only be problematized when defense became unnecessary; the various connections that I had already made in my adoptive tongue had reactivated the experimental process of desire, creating conditions for it to be resumed in the wounded tongue.
Oxford University Press, These are raised by the fantasmatics inscribed in the memory of the body, resulting from the traumas experienced in past attempts to establish this kind of sensible relation with the world — attempts which have been inhibited by a lack of reverberation in a surrounding milieu inhospitable to this quality of relation with the otherness of the world which micropooitica be even worse in dictatorial regimes, where this kind of relation becomes object of humiliation, prohibition or punishment, as in the dictatorship that ruled Brazil in the s and 70s.
Cartogtafia consider poetry to be one of the most important components of human existence, not so much in terms of value, but rather as a functional element.
In any case, here is the unexpected figure of the schizoanalyst Deleuze. Lygia built up this new public with her objects and devices, through a relationship with each one of her receivers, having a politics of subjectivation as a goal and duration as a means the precondition for intervening in this field, which allows her to reintroduce otherness, imaginative creation and becoming.
This is another characteristic of such practices, differentiating them from the institutional critique of the s and 70s as suggested by Holmes. When the boundaries of a certain stability are broken there is a danger that baser subjectivities tied to common sense will infer the risk of an irreversible collapse, and will begin to panic. But how to convey an oeuvre that is not visible, since it is carried out within the unlimited temporality of the effects of the relationship that each person establishes with the objects that compose it and with the context established by its device?
Assuming the responsibility and the risk of this decision, I chose to intervene in the parameters of the transmission of her work, inside the museum itself. Although he is personally present in this small tale, the potency distilled from this narrative for combatting the intolerable transcends his person and, obviously, the hangover of the military regime.
I entirely disinvested Portuguese, and with it the poisonous marks of the fear that froze my movements of desire.
This does not imply, however, the complete desertion of the artistic institution, with which these practices maintain an unprejudiced relationship, dedejo a fluid dynamic of entries and exits which at each turn re-inject shots of poetic force into its agonizing body, which unleash micro-movements of its critical deterritorialization.
guattari micropolitica cartografia do desejo pdf free
Nonetheless, at the close of the s it began to weaken, due to the wounds inflicted on the forces of creation by the increasing virulence of the dictatorship after the promulgation of Institutional Act Number 5, known as AI5, in December of .
The characteristically activist operation, with its macropolitical potential, intervenes in the tensions that arise in visible, stratified reality, between the poles of conflict in the distribution of places established by the dominant cartography within a given social context conflicts of class, race, gender, etc. During those decades, a broad movement of institutional critique had shaken the field of mental health, provoking irreversible ruptures.
But now something else has taken place, and it did not happen in the doldrums of virtuality, but in the streets and squares of Tunis, Cairo, Benghazi, and elsewhere.
The work would no longer be cut short in the spatial finitude of the object; it could now be realized as temporality, in an experience in which the object is unreified in order to become again a field of living forces that affect the world and are affected by it, bringing about a continuous process of differentiation.
In the case of the curators, for example, such vulnerability serves to sense the artistic proposals that hold the power to update such up to then virtual problems, thus taking up the ethical responsibility of their function, in full awareness of the political and clinical value of the artistic experience.
Suely Rolnik: The Body’s Contagious Memory |
Exhibited within are stuffed birds of various provenances. The setting is one of the Saturday afternoon singing lessons I have been taking along with two friends. It is in the face of this deadlock that the artist created Structuring of the Selfthe last gesture of her oeuvre, which unfolded after her definitive return to Rio de Janeiro in By launching a liberating movement through a sung cry, Deleuze had, in fact, been my schizonanalyst—even if such movement would only bear fruit years later.
In this way they could be reactivated and their questions could be posed again, in confrontation with the present.
Anything that deviates from common sense is considered a mistake, irresponsible, or worse, an act of treason. And, what is more, that this gift appears where one least expects it—in a simple pop song. I settled into French as my adoptive tongue, accentless to such a degree that people would often take me for a native speaker.
And the same holds for cities, which today use the Museums of Contemporary Art and their ostentatious architecture as one of their major instruments of power for inserting themselves onto the stage of global capitalism, thus making them more attractive poles for investment. My supposition was that only in this way could the condition of the dead archive that characterizes the documents and objects left over from these actions could be overcome, so as to render them elements of a living memory, producing differences in the present.
It is common to describe technology as a cultural practice, or culture as a fabric of interwoven material, intellectual, and social techniques. Having identified the extraterritorial drift according to the cartography that Holmes has offered, we can now trace its outlines more precisely. If art, in its extraterritorial drift, comes closer to activism in the context of cultural capitalism, this is due to the blockage of its own political potential, caused by the new regime.