Journal articles on the topic 'Guattari, F'

Straipsnyje bandoma atsakyti į klausimą, kaip Gilles’o Deleuze’o ir Felixo Guattari geismo samprata atsispindi jų politinėje filosofijoje. Tyrinėjama geismo mašinų ir jų gamybos koncepcija, jų santykis su sociumo struktūra ir kapitalo logika. Savo veikaluose šie du autoriai teigia, kad geismo mašinos kuria materialią revoliucinę energiją, kuri nuolat konfrontuoja tiek su sociumo normomis, tiek su kapitalistine priespauda. Tačiau, pasak jų, tokią energiją sociumas mėgina represuoti, paversti revoliucinį geismą fašistiniu „tvirtos rankos“ geismu, o kapitalas fetišizuoja, suprekina ir pritaiko savo tikslams. Šiame tekste, remiantis tiek Deleuze’o ir Guattari, tiek jų sekėjų tekstais, daroma prielaida, kad geismo mašinos sociumo represijoms ir kapitalistiniam suprekinimui gali priešintis pasirinkdamos atstumtųjų terpėje gimstančias kūrybingas ir radikalias mažosios politikos strategijas.Pagrindiniai žodžiai: geismas, geismo mašinos, sociumas, reakcija, kapitalas, suprekinimas, revoliucija, mažoji politika.Desire and Liberation in Political Philosophy of G. Deleuze and F. GuattariKasparas Pocius SummaryThe article analyzes Deleuze and Guattari’s concepts of desire and desiring-machines, their origins and workings in the organized structure of socius and in the capitalist regime as well as the revolutionary strategies and milieus that these desiring-machines engender. Contemporary social critique often distorts the notion of desire while linking it exclusively with capital that forces people to consume identities and commodities. Meanwhile, in the conception of Deleuze and Guattari desire is a material revolutionary energy which constantly aims to confront the norms of both socius and capitalist repressions. Unfortunately, this energy is continually under the threat of being appropriated and inactivated by socius, and it also undergoes the risk of being fetishized and commodified by capital, which makes desire serve its aims of seeking profit and extracting surplus value. Desiring-machines attempt to break through to the other side of socius and capital, the former of which is decoded and deterritorialized, whereas the latter is too limited to deal with desire as an absolute limit of socius. Capital is unable to commodify potential revolutionary energy or to absorb it in another way. However, in the structure of socius active and creative desire may be reversed into reactionary fascist desire of hierarchy, exploitation, humiliation, slavery and death.The molar order of socius is distinguished by a clear structure and hierarchy where individuals have fixed identities. However, capital tries to demolish those structures and deterritorialize socius by following the desiring-machines. The discipline, laws and norms are substituted by the flexible axiomatic of capitalism, which (whenever possible) can adjust itself to the demands of desire or regenerate to the former repressive forms of command. Such milieu gives rise to a single monolithic molar class. Therefore, today the conflict lies not between the capitalist class and the working class but between the class and those who are outside the class – minor people, creating minor politics in molecular milieu.There is a paradox in the conception of minor politics by Deleuze and Guattari. Although this kind of politics originates in the space that is oppressed by socius and capital, however such space can become highly active, creative and radical. Desire as a material basis for creativity becomes a powerful revolutionary potential. Minor politics is based not on identification or representation of somebody’s interests, but on permanent creativity. This politics emerges within the milieu of mutual communication and intellect as well as uncommodified affectivity and sexuality and it embodies revolutionary desire in everyday practices of self-valorization.Keywords: desire, desiring-machines, socius, reaction, capital, commodification, revolution, minor politics.

The article examines the role of value conglomerate currents in sections of willing machines inthe philosophy of G. Deleuze and F. Guattari. The movement and current of value conglomeratesthrough the person turned away from God is refined and formed. Accordingly, the essence of theconcepts introduced by the philosophers of the «wanting machine» and «body without organs»is clarified. It is noted that the specificity of the terminological apparatus of the collaborationof philosophers is built on the defined ontological plane of diversity and the dichotomouscontradiction of mental and schizoid judgments, where meaning loses the usual forms of logicand is replaced by singularities. The dichotomy of singularities was developed by G. Deleuzein the treatise «The Logic of Meaning», during the study of planes of meaning in the worksof L. Carroll. It is established that the desiring machine becomes the presentation of the basiccomponent of the person - as an organism, mental thinking and unconscious consumption. Havingthe constituent organs of activity, a person is unconsciously formed into a willing machine, thatis, a person moves at will, which is modeled in his instructions for using his own organism. It isnoted that the machine that desires is not just a symbiosis of spare parts, which can be noticed inthe philosophy of G. Deleuze and F. Guattari in the first place, but is a machine that constantlydesires, even when something sucks in itself. Desire pushes the machine to interconnect withother machines, so it becomes a slave of its own desires, and the range of these desires expandsand then narrows like a pendulum oscillation. The desires themselves are irresistible, so someof them are controlled by capitalism and psychiatry through the structure of a society of control,digitization and detritorialization. It is the machines that desire to do everything by the body, butit causes the body to suffer, because the body is already a concept of docking, levers, standards ofconnection, moral regulators of the superconscious. It is determined that the body without organscomes into conflict with the wanting machine, because the body searches for the cause of sufferingin the presence of organs, and therefore removes them, becomes sterile. However, philosopherspoint to the constant repetition of motions not only of the desiring machine, but also of the bodywithout organs: decipherment returns to digitization, the body being filled by the organs of desire.The processes of constant return are deteritized by capitalism. Value conglomerates themselvescombine into the horrible twin of God and the devil, good and evil. The minority replaces themajority. An example of the metamorphosis of a minority homosexual into the majority of LGBTpeople is given. It is stated that the most valuable conglomerates are embedded in the ontologicalmetamorphosis, not in the dualism of the pairs of good and evil. The values themselves are definedas the lines of cutting a person through the pendulum movements of the jacket of good and evil,and therefore, as such, they are not internal to the wanting machine. The model of movement ofthe flows of value conglomerates, which is represented as a continuous cutting of the lines of thegood and evil desires of passive thinking machines, driven into the judgment of the social systemby the method of psychoanalytic compulsion, is defined. In this model, the face of God is alwaysturned away from man, and the desire of man crosses God as if sewing him to his own judgment.

This article describes the expansion of classical art formats in the context of the development of digital art. Using the example of the YouTube channel Petscop, the problem of transversality (term by F. Guattari and J. Deleuze) of information in modern communication is considered. The condition of transversality allows us to mark possible shifts in the understanding, perception and interpretation of information in modern discourse.

This article examines the influence of «interface effects» (A. Galloway’s term) on the perception of information in cultural and educational journalism. On the basis of the theory of machines by F. Guattari, the analysis of the inter­face is carried out by the parameters of content, perceived territories, propositions and noem. As a result, its media-aesthetic functionality was revealed, based on the cognitive trajectories offered to the user.

Information and knowledge have never been produced so rapidly. Production that finally does not communicate, nor does it act, nor does it have the positive effects that are desired of transference to society. Hyperactivities, fascism, various pathologies, and contradictions, went into such an enterprise. And along with the most daring technological and scientific advances, an unmentionable barbarity is advancing in an overwhelming way. The planetary dangers that result from this production that is not communicated and which we often only become aware of do not cease to threaten us every day and insistently knock on the door. An ambiguous and dangerous global context makes us recover a hypothesis that is more than fifty years old. Proposed by Bateson with a very wide reach the concept of "double bind" helps us to think the relationship between education knowledge and politics.ResumoNunca se produziu tanto e tão aceleradamente informação e conhecimento. Produção que finalmente não se comunica, nem age, nem tem os efeitos positivos que se desejam de transferência para a sociedade. Hiperatividades, fascismos, patologias variadas, contradições e impasses entravam tamanho empreendimento. E a par dos avanços tecnológicos e científicos mais ousados uma barbárie inominável avança de forma avassaladora. Os perigos planetários que resultam desta produção que não se comunica e de que só amiúde nos tornamos conscientes não deixam de nos ameaçar todos os dias e bater com insistência à porta. Um contexto global tão ambíguo e perigoso faz-nos recuperar uma hipótese com mais de cinquenta anos. Proposta por Bateson com um alcance bastante vasto, o conceito de duplo impasse ou “double bind” ajuda-nos a pensar a relação entre educação, conhecimento e política.Keywords: Communication, Contradiction, Double bind, Populism.Palavras-chave: Comunicação, Contradição, Duplo impasse, Populismo.ReferencesBATESON, G. Vers une écologie de l’esprit. (Vol. 1 e 2), Paris: Seuil, 1980.BATESON, G.; RUESCH, J. Communication et société. Paris: Seuil, 1988.DELEUZE, G.; GUATTARI, F. L’Anti-Œdipe. Paris: Minuit, 1972.DELEUZE, G.; GUATTARI, F. Mille plateaux. Paris: Minuit, 1980.DELEUZE, G.; GUATTARI, F. O que é a Filosofia?. Lisboa: Presença, 1992.DELEUZE, G. Crítica e clínica. Lisboa: Ed. Século XXI, 2000.WATZLAWICK, P.; BEAVIN, J. H.; JACKSON, D. D. Pragmatics of human communication. A study of interactional patterns, pathologies and paradoxes. New York: W.W. Norton & Co, 1967.WATZLAWICK, P.; WEAKLAND, J.; FISCH, R. Changements: paradoxes et psychothérapie. Paris: Seuil,1975.

A cartografia é um método proposto por G. Deleuze e F. Guattari e que vem sendo utilizado em pesquisas de campo voltadas para o estudo da subjetividade. Adotando uma perspectiva construtivista, o artigo aborda o problema do funcionamento da atenção na etapa inicial do trabalho do cartógrafo. Baseia-se nos conceitos de atenção flutuante de S. Freud, de reconhecimento atento de H. Bergson e nas contribuições da vertente fenomenológica das ciências cognitivas contemporâneas. A atenção cartográfica é definida como concentrada e aberta, caracterizando-se por quatro variedades: o rastreio, o toque, o pouso e o reconhecimento atento.

Este paper integra a pesquisa “Comunicação, Consumo e Memória: Cosplay e Culturas Juvenis”, em realização junto ao PPGCOM-ESPM – SP, e analisa os resultados parciais da primeira investigação de campo realizada durante o festival Anime Dreams 2012, na cidade de São Paulo. Com base no conceito de inconsciente maquínico, de F. Guattari, e, em teorias sobre cultura juvenil e da mídia, foram mapeados os motivos da realização do cosplay e os circuitos de seleção, transmissão e consumo de personagens e narrativas. Os depoimentos mostram processos de resistência e sugerem alianças e rupturas entre subjetividades serializadas e singularizadas.

O presente artigo busca fazer uma genealogia irônica do quadrinho brasileiro a partir do questionamento de sua origem e da invenção do contramito Chiquinho, isto é, Buster Brown, personagem criado por Richard F. Outcault e predado pela revista brasileira O Tico-Tico. Diferentemente de um regime identitário, observar-se-á na experiência dos quadrinhos do Brasil uma subjetividade antropofágica (Oswald de Andrade), ou antes, uma grandeza intensiva protossubjetiva e pré-individual, corpo sem órgãos (Deleuze, Guattari). Procurando atestar a hipótese, a análise irá se deter no quadrinho brasileiro contemporâneo, mais especificamente em Burroughs, de João Pinheiro. Com isso, espera-se contribuir para uma historiografia contraidentitária das histórias em quadrinhos brasileiras.

Resumo: Texto de introdução à filosofia, com ênfase na noção de “espanto”, que, segundo Platão e Aristóteles, constituía do pathos fundamental do pensamento filosófico. Arrancando-nos do fluxo automático da vida cotidiana, o “espanto” abre a possibilidade de colocarmos em questão tudo aquilo que tomávamos tranquilamente como “certo” e “verdadeiro”. Trazendo em nosso auxílio pensadores tais como Nietzsche, Heidegger, Hannah Arendt e Ortega y Gasset, procuraremos demonstrar em que sentido o pathos do “espanto” e o enfrentamento das grandes questões existenciais humanas constituem o fundo da autêntica prática filosófica. Palavras-chave: Filosofia. Espanto. Questões existenciais. Abstract: Introductory text to Philosophy, with emphasis on the notion of "wonder", which, according to Plato and Aristotle, constituted the fundamental pathos of philosophical thought. Pulling us out from the automatic flow of everyday life, the "wonder" opens the possibility of questioning all that we took quietly as "right" and "true". Bringing to our aid such thinkers as Nietzsche, Heidegger, Hannah Arendt and Ortega y Gasset, we will try to demonstrate in what sense the pathos of "wonder" and the confrontation of the great human existential questions constitute the bottom of the authentic philosophical practice. Keywords: Philosophy. Wonder. Existential questions. REFERÊNCIAS ARENDT, H. A vida do Espírito. Rio de Janeiro: Relume-Dumará; UFRJ, 1992. COSTA, J. S. da. A origem da Filosofia. In: CABRAL, Alexandre Marques; SAMPAIO, Juliana Lira; BITTENCOURT, Renato Nunes; BARROS, Tiago Mota da Silva. Filosofia: um panorama histórico-temático. Rio de Janeiro: Mauad, 2013. DELEUZE, G; GUATTARI, F. Mil Platôs I. São Paulo: 34, 2000. DELEUZE, G; GUATTARI, F. O Anti-Édipo. São Paulo: 34, 2010. DI GIORGI, F. Os caminhos do desejo. In: NOVAES, Adauto. O desejo. São Paulo: Cia das Letras, 1990. FAETONTE, C. A; PAMPLONA, F. Nova Ode Mundial. Niterói, 2014. HEIDEGGER, M. Seminários de Zollikon. Petrópolis: Vozes, 2009. HEIDEGGER, M. Que é isto – a Filosofia?. In: HEIDEGGER, M. Conferências e escritos filosóficos. São Paulo: Abril, 1973. HEIDEGGER, M. O que chamamos pensar?. Tradução: Edgar Lyra. Ainda não publicado. LYNCH, D. Cidade dos Sonhos (Filme). Mulholland Drive. EUA, 2001. LYOTARD, J. F. Por que filosofar?. São Paulo: Parábola, 2013. MAGNO, MD. A psicanálise, novamente. Rio de Janeiro: Novamente, 2004. MAGNO, MD. Revirão. Rio de Janeiro: NovaMente, 2003. NIETZSCHE, F. Assim falava Zaratustra. São Paulo: Cia das Letras, 2011 NIETZSCHE, F. Ecce Homo. São Paulo: Cia das Letras, 2008 NIETZSCHE, F. Além do Bem e do Mal. São Paulo: Cia das Letras, 2005 NIETZSCHE, F. A Gaia Ciência. São Paulo: Cia das Letras, 2001 PESSOA, F. Ode Marítima. Orpheu nº 2. Lisboa, Abr-Jun 2015 PIRANDELLO, L. Um, Nenhum e Cem mil. Rio de Janeiro: Cosac-Naify, s/d PLATÃO. Apologia de Sócrates. São Paulo: Nova Cultural, 1999. (Coleção Os Pensadores). SHAKESPEARE, W. As you like it. Cambridge: Cambridge University Press, 2000.

El artículo está dedicado a dos conceptos: el esquizoanálisis y el rizoma,introducidos por G. Deleuze y F. Guattari. Su propósito es mostrarlos comocategorías de la estética posmoderna que proporcionan una nueva herramientaconceptual para describir los procesos transcurridos en las prácticasartísticas actuales, que con frecuencia se enuncian bajo la crisis de representación cuestionando la modernidad “narrativa” y sus imperativos categóricos.Se trata de los conceptos de características similares e intercambiables, quecomplementan uno a otro, pues ambos reflejan un nuevo tipo de relacionesentre el arte contemporáneo y la realidad: no lineales, no estructuralizadas,anti-jerárquicas, heterogéneas, etc. o sea, relaciones “rizomaticas” basadas enel principio “cartográfico”, distintas de las relaciones “arborescentes” en quereside el arte clásico donde predominan los “procedimientos de calco”.

Os filósofos latino-americanos que intentam pensar a América Latina, possivelmente, desde que G. W. F. Hegel denunciou que "Tudo o que ali sucede era apenas eco da Europa", tem-se preocupado com sua originalidade. Atualmente, por exemplo, Leopoldo Zea, Enrique Dussel, Arturo Andrés Roig, entre outros, dedicaram suas obras, em grande parte, a resolver tal problema. Essa crítica de Hegel ao pensamento latino-americano, me foi sugerida, também, pela leitura da obra de Gilles Deleuze e Félix Guattari intitulada "O que é a filosofia". De tal forma que, neste texto, realizamos uma recepção criativa desse livro, procurando aproveitar sua mensagem com relação ao problema não apenas do fazer filosofia na América Latina, mas do filosofar latino-americanamente.

(francuski) Pendant les ann?es 1970, Gilles Deleuze ?labore avec F?lix Guattari et Claire Parnet les concepts d'agencement et de diagramme: au moins jusqu'? Mille plateaux (1980), agencement et diagramme - rebaptis?s machine concr?te et machine abstraite -, constitueront le soubassement th?orique de l'ensemble du travail de Deleuze. Or, l'id?e de diagramme doit beaucoup au Foucault de Surveiller et punir avec lequel Deleuze m?ne un dialogue th?orique ininterrompu pendant ces ann?es-l?: elle cristallise pour lui un enjeu de taille, celui de penser la mutation des structures historiques hors des sch?mas dominants du structuralisme et du marxisme. Deleuze, penseur du devenir, se confrontant ? Foucault, historien-g?n?alogiste des transformations: au coeur de cette confrontation sur le diagramme, surgissent deux conceptions distinctes de la mutation que Deleuze s'efforce de concilier dans son livre sur Foucault.

<p>La obra de arte puede ser mirada, y es la perspectiva desde la que se construye este texto, como una forma de pensamiento, y en este contexto, como una forma de producción de la filosofía. Se trata de ver cómo el mismo objeto artístico se convierte en un fenómeno de interpretación de la vida, y así ofrece respuestas vitales a la misma cotidianidad, tanto del artista/creador como del espectador. El ejercicio surge con ocasión de la visita de la reconocida y polémica artista francesa Orlan al Museo de Arte Moderno de Bogotá, de forma que este artículo tiene como propósito hacer un acercamiento estético y filosófico al performance de la artista, desde sus inicios hasta sus últimas obras fotográficas, a través de la perspectiva de cuerpo sin órganos; concepto filosófico utilizado por G. Deleuze y F. Guattari (2000).</p>

El objetivo del artículo es la presentación de Amereida desde la perspectiva de los estudios culturales. Según la autora, es un fenómeno que puede servir como modelo de ambiguas relaciones de América Latina y Europa, estrechamente vinculadas a la idea de la comunidad y la cooperación. Las ideas de Amereida se tradujeron en la llamada “travesía” (un viaje del grupo de arquitectos, poetas, artistas de América y Europa que atravesaron el continente americano en el año 1965 con el propósito de la descolonización cultural) y se realizan desde el año 1970 en la “Ciudad Abierta” (Chile). Amereida, aunque parece dependiente de los patrones occidentales (el neologismo “Amereida” es una combinación de "América" y "Eneida”), es más bien un ejemplo del latinoamericanismo moderno. En conclusión, Barbaruk postula el uso de otras herramientas teóricas de índole heterogénea para describir el fenómeno de Amereida. Se trata de ideas tomadas de A. Rimbaud (“yo es otro”), G. Deleuze, F. Guattari (literatura menor), M. Bajtín (exotopía), J. Derrida (espectro) o el concepto de la sutura.

The article covers wiersze-nadsłowne [“supra-verbal” poems] by Marian Grześczak written in the period of 1959–1963, which was one of the first specimens of concrete poetry in Poland. The main part comprises an elaborate analysis of a work titled Miasto: partytura [City: score] (previously called: Miasto, parodia [City, parody]). The text becomes a springboard for the presentation of original literary theoretical ideas concerning the links between the literary text and musical notation, and in doing so refers to the findings of authors such as G. Agamben and J. Derrida, as well as G. Deleuze and F. Guattari, but predominantly to Grześczak’s own commentaries, as one of the first Polish commentators of the international concrete poetry movement. The article also mentions sixteen unpublished poems, which were found in an archive of visual poems by Grześczak, whose analysis provides a basis for rejecting the notion pervading relevant literature of the “sporadic” and “insignificant” character of the poet’s concrete works. Thus, the article is an attempt at literary historical revision and a contribution to the re-interpretation of the history of concrete and experimental poetry in Poland.

This article reports a reading and writing experience developed in a current academic formative process, in the spaces and times where we capture signs, affects and thoughts. The essay ‘O incendiador de caminhos’ (2011), by Mozambican writer Mia Couto, was manipulated during one of the moments of a science and education course, whose program involves epistemologies, methodologies and pedagogical practices in the field of natural sciences to children, in a Pedagogy Licensure course. However, the text would not discuss pedagogical practices but it would mobilize a ‘what if’ discourse: ‘what if’ I could think teaching, pedagogical practices or sciences – along with life – departing from the author’s essay. A text could projects a potency, activating ways of thinking, producing a language and world experience. The pedagogues to be showed us the gaps that reading can produce upon teaching ‘in myself’, ‘in the other’ and ‘openly’. ‘O incendiador de caminhos’ relates to the possibility of fabricating ourselves in the trajectory of occupying rigid spaces, courses and thoughts at the university. They burn some certainties and claim, as teachers and teachers to be, the experience of reading, thinking and writing sparks of present and future in Education.ResumoEste artigo relata uma experiência de leitura e escrita realizada em atual percurso formativo acadêmico, nos espaços e tempos em que capturamos signos, afetos e pensamentos. O ensaio ‘O incendiador de caminhos’ (2011), do escritor moçambicano Mia Couto, foi manipulado num dos momentos de uma disciplina de ciências e educação, cuja ementa engloba epistemologias, metodologias e práticas pedagógicas na área das ciências naturais para crianças, num curso de Licenciatura em Pedagogia. Entretanto, o texto não viria falar sobre práticas pedagógicas e sim fazer pulsar um ‘quiçá’: quiçá se pudesse pensar em docência, em práticas pedagógicas ou em ciências - conjugadas com a vida - a partir do ensaio do autor. Um texto pode projetar uma potência, ativando modos de pensar-se, produzindo uma experiência de linguagem e de mundo. As futuras pedagogas nos mostraram as brechas que uma leitura pode fazer sobre uma docência em mim, no outro e em aberto. ‘O incendiador de caminhos’ se relaciona com a possibilidade de nos fabricarmos na trajetória de ocupar espaços, disciplinas e pensamentos enrijecidos da universidade. Queimam algumas certezas e fazem reivindicar, enquanto formadoras/es e formandos/as, a experiência de ler, pensar e escrever fagulhas de presente e futuro em educação.ResumenEste artículo relata una experiencia de lectura y escritura realizada en actual percurso formativo académico, en espacios y tiempos donde capturamos signos, afectos y pensamientos. El ensayo ‘O incendiador de caminhos’ (2011), del escritor mozambicano Mia Couto, fue manipulado en uno de los momentos de la asignatura Ciencias y Educación, cuyo ementario incluye epistemologías, metodologías y prácticas pedagógicas en el área de las Ciencias Naturales para niños, en un curso de Profesorado. Sin embargo, el texto no hablaría sobre prácticas pedagógicas, sino de hacer pulsar un ‘quizá’: quizá se pueda pensar en enseñanza, en prácticas pedagógicas o en ciencias - conjugadas con la vida - desde el ensayo del autor. Un texto puede proyectar una potencia, activando modos de pensarse, produciendo una experiencia de lenguaje y de mundo. Las futuras pedagogas nos mostraron los vacíos que una lectura puede hacer sobre la enseñanza de uno mismo, del otro y en abierto. ‘O incendiador de caminhos’ se relaciona con la posibilidad de nos fabricarmos en la trayectoria de ocupar espacios, asignaturas y pensamientos rígidos de la universidad. Queman algunas certezas y hacen reclamar, como formadoras/es y formandos/as, la experiencia de leer, pensar y escribir chispas de presente y futuro en educación.Keywords: Writing, Reading, Teacher’s education, Mia Couto.Palavras-chave: Escrita, Leitura, Formação de professores, Mia Couto.Palabras-clave: Escritura, Lectura, Formación de profesores, Mia Couto.ReferencesBARTHES, R. Crítica e verdade. 1a ed. São Paulo: Editora perspectiva, 1970, 234p.CHRÉTIEN, C. A ciência em ação: mitos e limites. 1a ed. Campinas: Papirus, 1994, 268p.CORAZZA, S. M. O que se transcria em educação? Porto Alegre: UFRGS, 2013, 228p.COUTO, M. O fio das missangas: contos. 1a ed. São Paulo: Companhia das Letras, 2009, 147p.COUTO, M. E se Obama fosse africano? Ensaios. 1a ed. São Paulo: Companhia das Letras, 2011, 202p.DALMASO, A. C. Fiandografia: experimentações entre leitura e escrita numa pesquisa em educação. 2016. 99p. Tese (Doutorado em Educação). Programa de Pós-Graduação em Educação (Linha de Pesquisa Educação e Artes), Universidade Federal de Santa Maria, Santa Maria, 2017.DALMASO, A. C.; GARLET, F. R.; OLIVEIRA, M. O. de. Para disparar leituras e escritas, para pensar na pesquisa e na docência: experimentando um espaço da pós-graduação em educação. ETD - Educação Temática Digital, Campinas, SP, v. 18, n. 4, p. 955-968, set. 2016.DELEUZE, G. Crítica e clínica. 1a ed. São Paulo: Ed. 34, 1997, 176p.DELEUZE, G. Conversações. 3a ed. São Paulo: Ed. 34, 2013, 240p.DELEUZE, G.; GUATTARI, F. Mil Platôs: capitalismo e esquizofrenia, Vol. 1. 1a ed. São Paulo: 34, 1995, 96p.DELEUZE, G.; GUATTARI, F. Mil Platôs: capitalismo e esquizofrenia, Vol. 3. 1a ed. São Paulo: 34, 1996, 120p.DELEUZE, G.; GUATTARI, F. Mil Platôs: capitalismo e esquizofrenia, Vol. 4. 1a ed. São Paulo: 34, 1997, 176p.DELIGNY, F. O aracniano e outros textos. 1a ed. São Paulo: n-1 edições, 2015, 288p.LARROSA, J. Tremores: escritos sobre experiência. 1a ed. Belo Horizonte: Autêntica, 2014, 175p.

This study investigates implementation of the conceptual and textual techniques associated with poststructuralism (such as the poststructuralist concepts of writing, text, intertext, discoursive practices) in Rem Koolhaas's project the Jussieu Library (1992) planned within the Sorbonne University complex in Paris. The main hypothesis of the study is that Koolhaas produces in the project for the Jussieu Library transgression of language of modernistic architecture conceiving the concept of architectural promenade as a scene of writing. In other words, from the understanding of the concept of architectural promenade as a self-reflexive, abstract and autonomous concept, we move to the understanding of the architectural promenade as culturally dependent, but also for culture and society determinant concept. How does Koolhaas embody operative ideological practices of post-structuralism in the case of the Jussieu Library? How can we understand the concept of architectural promenade as a scene of writing? In other words, how can we understand the architectural promenade as a field of lines of deterritorialization and reterritorialization of different narratives, discourses, ideologies, contexts? What role could this concept of the architecture have in a society? In a theoretical context the study draws on the investigations of: Jacques Derrida, Michael Foucault, Joseph Beuys, Gilles Deleuze and F?lix Guattari.

The article shows the evolution of the theoretical understanding of the “monitoring revolution”, including the difference between the ideas of “post-capitalism” as the aestheticization and fascization of reality, heterotopia and divid (F. Jameson, J. Deleuze, F. Guattari), as well as the ideas of “cognitive capitalism” and modern concepts of “platform capitalism” (N. Srnicek, G. Lovink), “communicative capitalism” (S. Zizek, etc.). The article shows the fundamental differences between the monitoring model of the new digital society and the old Panopticon, primarily related to the formation of local and closed communities, the complexity of interaction between online and offline behavior and its assessments, the possibility of correcting the algorithm due to rapid changes in behavior patterns, as well as the ability of a person to “interact” consciously with the data collection and processing system for their own purposes. Two directions of digital monitoring are identified – “non-soft” and “soft” coer cion. In the first case, we are talking about the actual data collection and rewards for “doing the right things”, as in the version of the Chinese social credit system. The second is about creating a reality in which an individual can only act in a “set” way. It is emphasized that, contrary to forecasts, these systems do not develop along the path of “virtualization” of reality, which implies a conscious, though predetermined choice, but along the path of influencing the brain, bypassing the symbolic. Based on the analysis, the main directions of possible public control of monitoring procedures are identified. These are, first, the problems of “localization” of platforms (territorial and other “binding” of them) and the development of the concept of “citizen as user”; second, the differentiation of data classes to establish responsibility.

The purpose of the study is to trace the origins of E. V. de Castro’s «poststructural anthropology», and the possibility of its application in Religious Studies in contemporary Russia. For the purpose of the study, the methods of description, historical and comparative analysis and modelling were chosen. The objectives of the study are: 1) to create an analogous 3D model of «the shaman’s universe», according to the factography of E. V. de Castro’s «poststructural anthropology»; 2) to verify its heuristic potential using the material of the belief in the existence of werewolves; 3) to verify whether the postmodern thesaurus, as a language of description, could be adequately applied to the worldview of Amazonian shamans. The author concludes that: a) the immediate origins of «poststructural anthropology» lie in the views of J. Deleuze and F. Guattari, and that the achievements of the British school of social anthropology and Cl. Levi- Strauss’s structuralism served as the general background for E. V. de Castro’s and E. Kohn’s work; b) the conceptual framework of postmodernism is able to serve as an appropriate language of description of the shamanic experience which was clearly demonstrated by Amazonists E. V. de Castro and E. Kohn; c) the shamanic model of the universe (the Chaosmosis) has sufficient heuristic potential to be applied to other phenomena of religion, mytho-ritual, virtual fantasy worlds, fairy tales, and folklore.

Brahms's familiar "Wiegenlied" op. 49, no. 4 (1868) is emblematic of numerous nineteenth-century compositions that sonorously enact idealized images of the mother and child. Its back and forth harmonic movement imitates the phenomenal sensation of rocking, and its interlocking syncopations support and interact with the emotive declamation of the singer's voice. Because its musical features are so easily accessible, the "Wiegenlied" has escaped music-analytical attention, its deceptive simplicity seemingly transparent to our music-theoretical gaze. Yet, certain aspects of this music render our familiar analytical or critical strategies inadequate for explaining the intuitions we have about it, aspects that suggest tracing their connections within a broader cultural and musical context. My discussion of the lullaby draws from a number of cultural theorists--among them Friedrich Kittler, Michel Chion, Gilles DeLeuze, F&#x8f;lix Guattari, and Theodor W. Adorno--to theorize the power of the mother's voice (la voix maternelle) in forming lifelong vocal and musical connections. I provide a close reading of Alexander Baumann's "S'is Anderscht" (1842), the Austrian vocal duet that inspired Brahms's composition of the lullaby, and a critical comparison of it with the lullaby. Finally, after uncovering latent etymological sources of several key words in the lullaby's text, I offer a hermeneutic re-reading of the poem, one that ultimately undermines our casual assumptions of this simple childhood song.

The model of capitalist subjectivation determines the generalization of competition as a norm of conduct, intimate individuals to conceive of themselves and behave like a company, order social relations according to the market model and change the logic of public policies. The present essay aims to understand, from the theoretical reference of P. Dardot C. Laval (2016a, 2016b, 2010), F. Guattari (1985, 1996), G. Alves (2008, 2011), D. Mancebo (2007, 2003), among others, how the subjectivity of the teaching worker of higher education is constituted, in the face of the current hegemonic expansion process of toyotista / neoliberal rationality, and how this process of capitalist subjectivation has interfered with working conditions and the mode / life project of education professionals. It is an exploratory study regarding the objectives and bibliographical information about the procedures of hermeneutic-analytical character. Initially, the essay deals with the transformations in the political-economic, cultural and productive structure inherent to the expansion of flexible capitalism, which underpinned the construction of a new model of "governance" and the formation of a new (self-governing) productive subject. Then, it presents the mechanisms and movements used by the toyotista / neoliberal rationality in the formation of a productivist and competitive subjectivity and its implications on the rhythms and working conditions. Finally, it intents to understand the metamorphoses of the teaching work, including the phenomenon related to the intensification and precarization of its working conditions, due to the process of capitalist subjectivation.

This article is dedicated to philosophical analysis of the phenomena and concepts of network and hierarchy. In philosophy of the postmodern theoreticians, hierarchical structures are subjected to criticism. Thus, one of the brightest images of non-hierarchical organization &ndash; rhizome &ndash; was suggested by G, Deleuze and F. Guattari in the context of their opposition to the traditional hierarchical image of a tree, which was attributed by the philosophers to the basis of Western culture and civilization. Criticism of hierarchical organization is associated with &ldquo;dissolution&rdquo; of a subject. The article analyzes the current state of computer networks and Internet for correspondence to the concept of &ldquo;network&rdquo;. The theoreticians of postmodernism associate the promotion of the concept of network with the postmodern reconsideration of a subject, since from now on it does not originate culture, but is originated and inscribed into one of the multiple cultural texts, and none of these texts does not have an advantage over others. The task of retaining integrity of the subject is no longer inherently valued, since any value of the subject simultaneously means establishing the hierarchy of events and occurrences around it. Therefore, the reverse action to integration becomes dissolution, associated with spread of the concept of network. The perception of Internet as a network in philosophy and social sciences is based on the desire to find confirmation to the theoretical model of network. But the Internet in many ways reproduces hierarchical structure within itself, which leaves open the question on the existence of nonhierarchical structures.

The aim of this article is to briefly outline my own cognitive experience, characterized by knowledge transfer and aesthetic experience, which arises from making BioArt. Specifically, I do nature photography, using the micro-photography technique. In this article, I distinguish – in terms of methodology and value — between interdisciplinary research in the social sciences and the postulate of transdisciplinary research, which leads me to reject the so-called plantality model — a linguistic concept employed by G. Deleuze and F. Guattari (Rhizome). I argue for a critical approach to this line of post-humanist reflection on non-human life that is not characterized by knowledge transfer. The article includes a report on the course of my research (parts 2 and 3), and a reflection of its relevance to the philosophy of art and philosophy of culture (parts 1, 3, 3.1, 4). The report from my own research and artistic activity includes a description of the transformation of my working space, the process of acquiring new disciplinary tools and skills — an experience that I call a change of attitude — and a presentation of nature microphotography (mainly plant photography). I provide a technical commentary on the presented photographs with regard to the process of their creation (e.g. botanical and optical information related to the microscopic slides and equipment), as well as philosophical comments. The philosophical reflection includes the postulate of alterity, which, in my view, is endemic to post-humanist thought, as well as a postulate called the primacy of abstraction, which reflects the non-naturalistic, anti-illustrative, and interpretative character of artistic microphotography (in contrast to the illustrative nature of “the plantality discourse of philosophy”).

The question of understanding of corporeality in philosophy, science, medicine and culture goes back centuries and remains relevant until the present. This relates mostly to anthropological challenges of the crisis technogenic civilization that is trying to improve human nature, without understanding of its holism, taking into account existential issues of hybrid man-machine systems and socies, virtual and cyber-physical umvelts, within which corporeality becomes more of an atavism and a deterrent for the rapid worlds managed by the powerful artificial intelligence. In philosophy of the XX century, the understanding of generalized corporeality is associated primarily with the phenomenological project of E. Husserl and its advancement in the works of M. Merleau-Ponty, French poststructuralists A. Artaud, G. Deleuze, F. Guattari, who conceptualizes the idea of generalized corporeality in cultural terms, rather than in natural science. The author proposes the introduction of the ontologies of generalized corporeality based on differentiation of its functional manifestations in communication and theatrical art, referring to the modern representations on the mechanism and their potential implementation on the level of physiology and mental sphere of personality, as well as on the level of substantial factors of biology, psychophysics and robotics. For these purposes, the author attracts the concepts of synergetics and quantum theory as the grounds for such functional ontologies; at the same time, full ontology of generalized corporeality is presented by direct product of the ontologies of states and temporal ontologies of physical and mental processes of a human, which allows creating a semiotics of corporeality of acting or anthropomorphic avatar-robot. The article explores the boundaries of emulation of human corporeality by the modern means of IT technologies, and the question of unattainability of many creative and spiritual sub-bodies of a person using technical means.

The article analyzes the concept of “more-than-human” perception, the features of which are constructed in the networks of relations, as a result of the interaction and relationships of heterogeneous forces (human activities, animals, bacteria, objects, technologies, etc.). This is not a subjective human perception, personal judgment of individual taste or social “distribution of sensitive”, but the collaborative process of configuring affective “field of the possible things” (define perception) as a result of the participation of multiple actants in the creation of life events, situations, processes, and conflicts. Based on the philosophical ideas of A. Bergson, W. Whitehead, J. Simondon, J. Deleuze, and F. Guattari, the author examines the affective nature of the interaction between the works of contemporary artists and the audience-participants. It is argued that creativity and artistic practice can be reinterpreted as processes of co-creation with the movements of matter formation. It is a way to think of art not as a form, but as a process open to a continuous interval of renewal and invention, which is revealed through the material relations of matter-energy, duration, transitions, and intuition. Through affective attunement techniques, participants organize the movements of matter-en- ergy flows, and each individual perception by the subject-actant becomes a joint “more-than- human” perception. Interactive and participatory works do not reflect reality in aesthetic forms, but instead create new processes, new places of creativity (manifestations of chance), in which the aesthetic is performatively realized before it is understood and reflected by the participants themselves. The text clarifies what constitutes “more-than-human” perception, how it relates to the usual understanding of the sphere of human sensory experience, and how it is implemented when working with modern interactive and participatory art projects.

This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic ima­ges and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is ana­lysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sour­ces that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).

Both linear and angular momentum densities of Bessel, Gaussian-Bessel, and Hankel-Bessel lasers are determined. Angular momentum of the three Bessel beams is illustrated at linear and circular polarization. Axial Angular momentum is resolved in particular interpretation: the harmonic order of the physical light momentum. Full Text: PDF ReferencesG. Molina-Terriza, J. Torres, and L. Torner, "Twisted photons", Nature Physics 3, 305 - 310 (2007). CrossRef J Arlt, V Garces-Chavez, W Sibbett, and K Dholakia "Optical micromanipulation using a Bessel light beam", Opt. Commun., 197, 4-6, (2001). CrossRef L. Ambrosio and H. Hernández-Figueroa, "Gradient forces on double-negative particles in optical tweezers using Bessel beams in the ray optics regime", Opt Exp, 18, 23 (2010). CrossRef I. Litvin, A. Dudley and A. Forbes, "Poynting vector and orbital angular momentum density of superpositions of Bessel beams", Opt Exp, 19, 18 (2011). CrossRef K Volke-Sepulveda, V Garcés-Chávez, S Chávez-Cerda, J Arlt and K Dholakia "Orbital angular momentum of a high-order Bessel light beam" , JOP B 4 (2). 2002. CrossRef M. Verma, S. Pal, S. Joshi, P. Senthilkumaran, J. Joseph, and H Kandpal, "Singularities in cylindrical vector beams", Jou. of Mod. Opt., 62 (13), 2015. CrossRef R. Borghi, M. Santarsiero, and M. Porras, "Nonparaxial Bessel?Gauss beams", J. Opt. Soc. Am. A, 18 (7) (2011). CrossRef L. Allen, M. Beijersbergen, R. Spreeuw, and J. Woerdman, "Orbital angular momentum of light and the transformation of Laguerre-Gaussian Laser modes", Phys Rev A, 45 (11): 8185-8189 (1992). CrossRef D. Mcglion and K. Dholakia, "Bessel beams: diffraction in a new light", Cont. Phys, 46(1) 15 ? 28. (2005). CrossRef F. Gori, G. Guattari and C. Padovani," Bessel-Gauss Beams", Opt. Commun., 64, 491, (1987). CrossRef V. Kotlyar, A. Kovalev, and A. Soifer, "Hankel?Bessel laser beams" J. Opt. Soc. Am. A, 29 (5) (2012). CrossRef L. Allen and M. Babiker "Spin-orbit coupling in free-space Laguerre-Gaussian light beams", Phys. Rev. A 53, R2937. CrossRef

Currently, during the COVID-19 pandemic, cultural actors are faced with the urgent problem of preserving humanitarian values using digital tools. The countries of Central Asia are laggingbehind the global process, which has introduced an imbalance in the digital presentation of world artistic heritage. The aim of this study and project is to organize an online art history of post-Soviet Asia in the complex context of human destinies, stories and facts, through the creation of an interactive book and website. During the research process, the author followed the cross-methodologies of critical analysis and digital archiving. That is, analytical constructs were founded and documented by archival materials and scientific sources through a hypertext system. In turn, the hypertext system has something in common with the philosophical concept of the "rhizome" – one of the key concepts of the philosophy of post-structuralism and post-modernism, introduced by J. Deleuze and F. Guattari. In the course of this research, materials of contemporary art from Central Asia were collected from the studios of artists, and an archiving system was developed in accordance with international standards. In 2013, the online resource astralnomads.net was developed and launched, which took its name from the unfinished novel by the artist Sergei Maslov Astral Nomads. The novel described the adventures of Kazakhstani artists on a spaceship in the future. The study asks questions about the timeliness and necessity of digital archiving of art collections. These processes are not just technical innovations here, but an indicator of the compliance of the country's cultural policy with the new humanitarian challenges of the era. Based on the results of the study, it can be concluded that, despite lagging behind global trends in archiving, the processes of digitalization of archives and art collections are gradually building up in the region. The study proposes a model of the Astral Nomads resource as a pilot project for the preservation of the heritage of art of the 20th-21st centuries.

Introducción: En este texto se presentan resultados estadísticos de la relación entre directivos con características de talento verde y la implementación de prácticas de cadena de suministro verde. Debido a que existen investigaciones sobre la importancia de la visión de la alta dirección para la adopción de prácticas verdes; y sin embargo ninguna da cuenta de las características personales del directivo, ni tampoco de la relación significativa entre estas características y la puesta en marcha de prácticas de cadena de suministro verde, esta es la aportación de la presente investigación. El trabajo se desarrolló en empresas manufactureras con más de diez trabajadores de la zona oriente del estado de Morelos México. La caracterización del término talento verde se reportó en el artículo, Talento verde: caracterización y búsqueda, publicado en el número 14 de esta revista. Método: El método utilizado consistió en la construcción de una encuesta dividida en tres categorías que posteriormente se convirtieron en variables: prácticas de cadena de suministro verde, presiones institucionales y talento verde. Las dos primeras se adaptaron de la encuesta de Zhu y Sarkis (2007) y la tercera surgió de la representación social de talento verde, producto de una fase de esta investigación. La encuesta se validó con un grupo de empresarios miembros de la Cámara Nacional de la Industria de la Transformación (CANACINTRA) capítulo Morelos. El instrumento validado se aplicó a 26 directivos de empresas manufactureras con más de diez trabajadores de la zona oriente de Morelos, con el fin de probar la relación entre directivos con características de talento verde y la puesta en marcha de prácticas de cadena de suministro verde. Para ello se utilizaron como herramientas estadísticas la correlación de Pearson y la regresión lineal múltiple.Resultados: Las prácticas de cadena de suministro verde de las empresas manufactureras de la zona oriente del estado de Morelos se encuentran en etapa de planeación. Los encuestados de las empresas reconocen características de talento verde en sus directivos de mayor jerarquía. Las presiones institucionales (mercado, regulación y competidores) son importantes para las compañías que participaron en el estudio no obstante la dificultad estriba en ponerlas en marcha.Conclusión: Talento verde y prácticas de cadena de suministro verde son variables que se correlacionan, es decir, existe una relación estadísticamente significativa entre ambas variables. A través del método de regresión lineal múltiple se afirma que las presiones institucionales: mercado, regulación y competidores, son causa de la implementación de prácticas de cadena de suministro verde. Estas presiones institucionales y la presencia de características de talento verde en directivos, se combinan para la implementación de prácticas de cadena de suministro verde en las empresas manufactureras con más de diez trabajadores de la zona oriente del estado de Morelos, México. Alemán, J. (2014). En la frontera. Sujeto y Capitalismo. Buenos Aires: Capital intelectual. Álvarez Pedrosian, E. (2011). El afuera en el adentro. Estética, nomadismo y multiplicidades. Montevideo: Liccom – Udelar. Álvarez Pedrosian, E. (2014). La gestación de un territorio o de cómo se teje la convivencia. XII Congreso de la Asociación Latinoamericana de Investigadores de la Comunicación-(ALAIC). Lima, 6-8 de Agosto de 2014. Facultad de Ciencias y Artes de la Comunicación, Pontificia Universidad Católica de Perú. Álvarez Pedrosian, E; Blanco Latierro, M. (2013). Componer, habitar, subjetivar. Aportes para la etnografía del habitar. Revista Bifurcaciones [en línea] Verano 2013, Diciembre-Febrero, Nº 15. <http://www.bifurcaciones.cl/2013/12/numero-015> Autores varios. (2014). Habla ciudad. México D.F: Arquine. Baudrillard, J. (1978). A la sombra de las mayorías silenciosas o el fin de lo social. Barcelona: Kairós. Bauman, Z. (2002). Modernidad liquida. Buenos Aires: FCE. De Landa, M. (2011). Mil años de historia no lineal. Barcelona: Gedisa. De la Torre, M. (2015). Espacio público y colectivo social. Revista Nova Scientia, Vol. 7, número 14, pp. 495-510. Deleuze, G; Guattari, F. (1972). El anti Edipo. Capitalismo y Esquizofrenia. Buenos Aires: Paidós. Deleuze, G; Guattari, F. (1997). Mil mesetas. Capitalismo y esquizofrenia II. Valencia: Pre-textos. Delgado, M. (1999). El animal público. Hacia una antropología de los espacios urbanos. Barcelona: Anagrama. Delgado, M. (2005). Elogio del viandante. Del modelo Barcelona a la Barcelona real. Barcelona: Edic. de 1984. Delgado, M. (2007). De la ciudad concebida a la ciudad practicada. Blog Parafenia [en línea], 27 de Febrero de 2007. <http://www.zonalibre.org/blog/parafrenia/archives/archivos/articulos_fantasmas/de_la_ciudad_concebida_a_la_ciudad_practicada.php > Delgado, M. (2013). La nueva multitud y el regreso del sujeto. Conferencia: Congreso Procesos extremos en la construcción de la ciudad. Sevilla, 8 de Noviembre de 2013. Escuela Técnica Superior de Arquitectura, Universidad de Sevilla. Foucault, M. (2010). El cuerpo utópico. Las Heterotopías. Buenos Aires: Nueva Visión. Giddens, A. (2000). Sociología. Madrid: Alianza Editorial. Harvey, D. (2001). Espacios del capital. Hacia una geografía crítica. Madrid: Akal. Harvey, D. (2012). La condición de la posmodernidad: investigación sobre los orígenes del cambio cultural.Buenos Aires: Amorrortu Heidegger, M. (2008). Identidad y Diferencia.Barcelona: Anthropos Johnson, S. (2003). Sistemas emergentes. O qué tienen en común hormigas, neuronas, ciudades y software. Madrid: FCE. Lyotard, J. F. (1984). La condición postmoderna. Madrid: Ediciones Cátedra. Luhmann, N. (1998). Complejidad y modernidad: De la unidad a la diferencia. Madrid: Trotta. Montaner, J. M; Muxí, Z. (2011). Arquitectura y Política. Ensayos para mundos alternativos. Barcelona: GG. Touraine, A. (2005). Un nuevo paradigma para comprender el mundo de hoy. Barcelona: Paidós. Vattimo, G. (2007). El fin de la modernidad. Nihilismo y hermenéutica en la cultura posmoderna. Barcelona: Gedisa

In the present work, the interrelation of social media with the philosophical thought of poststructuralism is investigated. The nature of the manifestation of this connection, the reasons for its actualization, the main one being the crisis of confidence in traditional media, is largely related to poststructuralist world outlook and attitude. Particular attention is paid to the structure of social media, the emphasis is on their nonlinearity. The image of the rhizome, described by J. Deleuze and F. Guattari, helps to reveal the peculiarities of the text functioning within the social media space and the formation of an interpretative-commentary complex around it.The latter is capable of changing the initial intentions in many ways, and here correlation with the poststructuralist idea of the "death of the author" is traced. Semantic dominants of this non-linear system are associated both with public expectations and with the activities of certain political actors and business structures. As a result, the interpretative-commentary complex acquires the features of a poly-subject, affecting the subject-object dichotomy, which underlies the classical models of communication. The relationship of social media with the philosophical thought of poststructuralism is also studied in the context of the public sphereideas. Modern interactive media are distinguished by the interpenetration of collective social and individual personal beginnings: the topics that the public and certain social groups consider most relevant are revealed here. In addition, a large number of interpretations are allowed. At the same time, the discussion is mainly limited to the presentation of certain views without establishing common ground, so we cannot yet talk about the space of the classical public sphere. Separately, the issue of increasing image symbols within the communicative space of social media is raised, it is considered in the context of the theory of simulacra by J. Baudrillard. Social media simultaneously acts as a product of the virtual environment, and as a reaction to it, where network activity correlates with other types of activity. In the present work, a conclusion about the complex nature of relationship between social media and modern philosophical thought is made. A systematic study of constructs that have an impact on the communicative practices of social media provides the most objective ideas about this phenomenon.

Introduction. The article examines the role of youth culture (in particular, counterculture and subculture) in reformatting the modern sociocultural space. As long ago asin the 1970s. the researchers pointed out that young people, showing their active position, change the realities of the socio-cultural space in which their parents lived. The research is based on the materials of the graffiti and street art subculture, as an informal artistic practice. The graffiti subculture emerged among African American teenagers in the 1970s in New York City. The first label that this subculture has been endowed with by society and city authorities is vandalism. However, in the late 1970s early 1980s graffiti is involved in the sphere of the art world institutions activities (private galleries) and becomes in demand among collectors. Street art emerges under its influence. The aim of the study is to reveal due to what characteristics of the socio-cultural space the transition from deviation (vandal practice) to the asserting norm became possible. Methods. The methodological basis of the research is the theory of generations by K. Mannheim and his concept of «fresh contact», which indicates the rethinking of the previously assimilated sociocultural experience by the subjects of culture. Another methodological basis is the concept of rhizome, introduced into scientific circulation by the philosophers J. Deleuze and F. Guattari. Scientific novelty of the research. It is shown how the rhizomatic principle of organizing culture is realized during the transition of youth practice from the space of deviant, in accordance with social norms, actions into the institutionalized space of the art world. Results. Using the example of the metamorphosis that the youth subculture of graffiti underwent in the late 20th — early 21st centuries, the author shows how the boundaries between norm and deviation are shifting in modern society. Conclusions. The rhizom principle, clearly manifested in the organization of the space of postmodern culture, allows graffiti and street art to make the above transition. The fall of the great narrative in the art world leads to the loosening of hierarchies and creates an opportunity for the integration of once marginal phenomena into the space of official art. K. Mannheim’s concept of «fresh contact» is effective in the study of postmodern culture.

Introduction. The phenomenon of social surfing, as a specific mobility strategy, largely determines the life of Y and Z generations, and creates an ambiguous context in terms of threats and opportunities for the formation of life trajectories of Russian youth. This actualised the search for theoretical and methodological foundations of understanding and practical tools for assessing the state of this problem, which, in turn, made it possible to scale this phenomenon in the context of the modern youth environment in Russia.The aim of the present research was to identify the degree of loyalty and potential tendency to use the “social surfing” strategy by the representatives of young people in Russian regions, taking into account the assessment of the approval of gender models of this behaviour strategy.Research methodology, methods and techniques. The methodological framework for describing the phenomenon of social surfing is based on the social topology of M. Castells, the het-erological concept of the rhizome by J. Deleuze and F. Guattari, the philosophy of mobility by J. Urry, Z. Bauman, U. Beck, the theory of transitivity (E. M. Dubovskaya, T. D. Martsinkovskaya, E. A. Kiselev), the studies of the specifics of youth identity and self-realisation in social space (M. C. Schippers, N. Ziegler, M. Loreto Martmez, P. Cumsille, A. K. Vikulov, T. V. Plotnikova and others) and the modern concepts of happiness (M. Argyll, D. A. Leontiev, A. L. Zhuravlev and others) The study was conducted in different regions of Russia (Novosibirsk, Ekaterinburg, Chelyabinsk, Kazan, Ulyanovsk, Glazov) using psychodiagnostic methodology “Propensity to social surfing of young people” developed by the authors. The study involved young people (N = 510 people aged 18-27 years old, among them female - 68 %, male - 32 %).Results and scientific novelty. It was found that 11.2 % of young men and women approve of social surfing, evaluate its behavioural model as positive and allow similar options for choosing their own life trajectory. Comparative analysis revealed significant differences in loyalty to the social surfing strategy among young people living in different regions of the Russian Federation: the greatest loyalty was manifested by the young residents of Ekaterinburg, Glazov, and Kazan, while the residents of Chelyabinsk predominantly demonstrated a negative attitude to this strategy. The respondents showed an unequal attitude towards male and female social surfing models: with a relatively condescending attitude towards the male model, social surfing of women is frowned upon and is associated with weakness and statement. Meanwhile, the approval of the male model of social surfing creates certain risks of marginalisation and value-semantic anomie among young people.The practical significance of the conducted research is due to the potential possibilities of using the data obtained for choosing approaches to work with young people in the conditions of their high mobility, as well as for creating educational and professional trajectories.

The urgency of the research resulted from the need for a comprehensive analysis of all dimensions of personal somatic existence, its structural changes and variability, possible transformations and functioning within the information society, and, consequently, determining the role of body in the latest social tendencies. Target setting. The paper reveals the main aspects of somatic issues and the "theory of the body for the Other" suggested by J. P. Sartre in one of his main works "Being and Nothingness". To achieve this goal the theoretical and methodological foundations of somatic issues in the scientific discourse of the 20th - early 21st centuries have been studied. Actual scientific researches and issues analysis. E. Husserl, J. Lacan, M. Merleau-Ponty, J. P. Sartre, Z. Freud, representatives of surrealism (J. Bataille, A. Arto), French poststructuralism (R. Barth, J. Deleuze, F. Guattari, J. Baudrillard, M. Foucault) and studies by M. Bakhtin, Y. Lotman, A. Losev had a significant influence on the understanding of the body as a cultural universal. Uninvestigated parts of general matters defining. Examining the originality of Sartre's ideas about the body and "body-for-the-Other", the peculiarities of the existential understanding of a man, especially his body characteristics, have been determined. The analysis of the work "Being and Nothingness" makes it possible to study the theory of "body-for-the-Other," its components, to clarify three ontological dimensions of the body and the relations with others as basic in Sartre's philosophy. The research objective. To reveal the main aspects of the somatic problems of J.P. Sartre's “theory of the body for the Other”, suggested by him in one of the major works “Being and Nothingness” and explore the further transformation of the concept of the Other in its bodily aspects in the context of the problem of identity. The statement of basic materials. The category of the Other is peculiar because with its help Sartre explains the existence of a man. The existence of the Other must be recognized as an inviolable fact. And this is what allows a person to discover their own existence. As a result, a person finds themselves not as a subject who knows, but as a certain state (shame, pride, fear, nausea), as actual existence. And it is impossible to find this existence in oneself only by means of the Other. By alienating a person's abilities and capabilities, the other makes self-reflection possible - the person (I) finds these states and tries to objectify them again. Objectification, the appropriation of a person's own capabilities and abilities is empirically carried out by the relation of bodies. The body of the other, allowing the man to open his body, organizes the world in a certain order. Therefore, Sartre's body, both mine and the body of the other, is the value of meaning. Conclusions. These studies laid the foundation for the tradition of analyzing the phenomenon of the Other, which has become central to the postmodern tradition. The paper reveals the features of the influence of the above ideas on the socio-cultural space, in particular on the example of the problem of identity and the theory of the Other.

A partir de pesquisa realizada em interfaces jornalísticas dos principais sites de jornais do Brasil e do mundo, este artigo apresenta o estado da arte do jornalismo e aponta diretrizes para repensar a forma pela qual são exibidas as notícias na internet, especialmente nas redes sociais. O trabalho é fundamentado por teóricos como Lev Manovich, Tim Berners-Lee, Ted Nelson, Gilles Deleuze e Félix Guattari.Palavras-chave: jornalismo, internet, interface, rede social ABSTRACTBased on an online research of interface newspaper sites in Brazil as well as other parts of the world, this article describes the current state of journalism and provides guidelines for rethinking the way in which the news are displayed on the Internet, specially on social networks. The work is supported by theorists such as Lev Manovich, Tim Berners-Lee , Ted Nelson , Gilles Deleuze and Félix Guattari.Keywords: journalism, internet, interface, social network RESUMENA partir de una investigación de las interfaces periodísticas de los principales sitios web de Brasil y del mundo, este artículo presenta el estado del arte del periodismo y muestra directrices para repensar la forma como las noticias son presentadas en la internet, especialmente en las redes sociales. El trabajo tiene como base la obra de teóricos como Lev Manovich, Tim Berners-Lee, Ted Nelson, Gilles Deleuze y Félix Guattari.Palabras clave: periodismo, internet, interface, redes sociales. ReferênciasCASTELLS, M. Communication power. Nova York: Oxford Press, 2009.CORREIA, Fernando. Os jornalistas e as notícias. Lisboa: Editorial Caminho, 1997DELEUZE, G.; GUATTARI, F. Mil Platôs - Capitalismo e esquizofrenia. São Paulo: Editora 34, v. 1, 2004.__________________________. Mil Platôs - Capitalismo e esquizofrenia. São Paulo: Editora 34, v. 5, 2007.FOUCAULT, M. Vigiar e Punir - Nascimento da prisão. Petrópolis: Vozes, 1999.GALTUNG, J., RUGE, J. The structure of foreign news. Journal of Peace Research, vol. 1. Noruega, 1965. p. 64-90. Disponível em http://bit.ly/Ak9NGw. Acesso jul. 2015.GANS, H. Deciding what´s news. A study of CBS Evening News, NBC Nightly News, News, Newsweek and Time. New York: Pantheon Books, 1979.GIBSON, W. Neuromancer. São Paulo: Editora Aleph, 2003.JOHNSON, S. Cultura da interface: como o computador transforma nossa maneira de criar e comunicar. Rio de Janeiro: Jorge Zahar, 2001.KUNCZIK, M. Conceitos de jornalismo. São Paulo: Edusp, 1997.LÉVY, P. Cibercultura. São Paulo: Editora 34, 1999.LIPPMAN, W. Opinião pública. Petrópolis: Vozes, 2008.MANOVICH, L. Software takes command. Software Studies, EUA, 20 nov. 2008 In: http://bit.ly/1TPMWID Acesso jul. 2015.MOHERDAUI, L. Guia de estilo web: produção e edição de notícias on-line. 3ª ed. São Paulo: Senac, 2007.MONACHESI, J. Contra a clicagem burra. Folha de S. Paulo, São Paulo, jan. 2004, p. 8 - 9 - 18.NELSON, T. Deeper Cosmology, Deeper Documents, 2001. The Twelfth ACM Conference on Hypertext and Hypermedia, Dinamarca, 14-18 ago. 2001 http://bit.ly/xpgIMR. Acesso jul. 2015.PAUL, N. The elements of digital story making. Universidade de Minsesota, EUA, 2005.____________. New News retrospective: Is online news reaching its potential? Online Journalism Review, Califórnia, 24 mar. 2005. Disponível em http://bit.ly/1Iec9E5. Acesso jul. 2015.SCHUDSON, M. The Sociology of News. New York: Jeffrey C. Alexander, 2003.SHIRKY, C. A cultura da participação. Rio de Janeiro: Zahar, 2010.SOUSA, J. P. Tobias Peucer. Progenitor da Teoria do Jornalismo. Biblioteca On-Line de Ciências da Comunicação. Portugal, 2004. Disponível em: http://bit.ly/y5USBi. Acesso jul. 2015.TIM Berners-Lee on the next web. TED 2009, EUA. Disponível em http://bit.ly/1cwDl7M. Acesso 24 ago. 2015.TUCHMAN, G. Making news: a study in the construction of reality. New York: Press. 1978.TWITTER noticiou morte de Bin Laden antes de Obama. Infoexame, São Paulo, 2 mai. 2011. Disponível em: http://bit.ly/rezYTV. Acesso jul. 2015.WEINBERGER, D. The hyperlinked metaphysics of the web. Hyperorg, 3 dez. 2000.Disponível em: http://bit.ly/zSrkus. 2000. Acesso em jul. 2015.WOLF, M. Teorias da comunicação de massa. Lisboa: Presença, 1995. Disponível em:Url: http://opendepot.org/2717/PID: http://nbn-resolving.de/urn:nbn:de:0168-ssoar-458106 Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

Inspired by Felix Guattari’s Three Ecologies ([1989] 2000), this article explores recent Orkney literature with an environmental focus (Working the Map—ed. J & F Cumming and M. MacInnes; Ebban an’ Flowan—Finlay, A., Watts, L. and Peebles, A.; The Outrun—A. Liptrot; Swimming With Seals—V. Whitworth) in terms of Orkney ecologies—which are always personal, environmental and cultural. Informed by fieldwork carried out in Orkney, looking at discourse around the development of marine renewable energy in the islands, it argues for the use of ecological dialogism, an approach to language and communication which recognises meaning-making as embodied and emergent within a meshwork (Ingold 2011) of lived experience. It explores the texts as part of an ecology of meaning-making within the naturalcultural (Haraway 2007) world, in which environment, social relations and human subjectivity are inextricably entangled. In this view, literary texts can be approached, not as isolated examples of individual creative expression, but as moments of emergent meaning-making in the dialogue between individual, cultural and environmental ecologies, reaching beyond the page into a living meshwork, where we can think in terms of ‘Ecology as Text, Text as Ecology’ (Morton 2010). These Orkney ecologies entangle the natural, personal, cultural and technological, through and as, stories, emphasising interdependence and care for both human and more-than-human relationships. Such moments of connection offer hope of new narrative possibilities with which to face the uncertainty of an Anthropocene future.

The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.

Adopting a linguoecological approach to the study of transdisciplinary concepts, we argue that they may take different shape and/or structure, and even change their nature, in agreement with the environment of their functioning, or their scientific landscape (Yu. S. Stepanov), which comprises the event horizon, or the plane of immanence (G. Deleuze, F. Guattari), and the creator of the concept, or the conceptual persona/aesthetic figure (G. Deleuze, F. Guattari). Different types of concepts are differentiated according to the type of their creator (social vs. personal); they are arranged along the scale 'universal–group-specific–personal'. After that a more granular classification of concept types is carried out according to the sphere of their creator's activities (scientific/logical – everyday – philosophical –cultural/aesthetic).Taking the concept transparency as a case, we demonstrate the difference between everyday, scientific, philosophical, and cultural concepts, drawing a distinction 'concepts vs. prospects' as well as 'concepts vs. percepts/affects'.

A proposta desse artigo é discutir as possibilidades e experimentações do ensino de filosofia na educação básica, centrando-se no currículo proposto para o ensino oficial, a partir das noções de currículo menor e educação menor tematizadas por Silvio Gallo por meio da obra dos filósofos franceses G. Deleuze e F. Guattari. Busca-se por meio da revisão da literatura a respeito, considerações e diálogos possíveis ao ensino de filosofia como experiência cultural e pluriversal. Espera-se com tal discussão experenciar o conceito de currículo menor como uma aposta ética e filosofia para um ensino de filosofia condizente com um cenário de mudanças.

A proposta desse artigo é discutir as possibilidades e experimentações do ensino de filosofia na educação básica, centrando-se no currículo proposto para o ensino oficial, a partir das noções de currículo menor e educação menor tematizadas por Silvio Gallo por meio da obra dos filósofos franceses G. Deleuze e F. Guattari. Busca-se por meio da revisão da literatura a respeito, considerações e diálogos possíveis ao ensino de filosofia como experiência cultural e pluriversal. Espera-se com tal discussão experenciar o conceito de currículo menor como uma aposta ética e filosofia para um ensino de filosofia condizente com um cenário de mudanças.

The concept of nomad is most broadly used to describe a person or a group of people who do not have a fixed residence, but move from place to place usually seasonally and within a well-defined territory. I. Semetsky, D. R. Cole, St. Pierre and others followed the ideas of philosophers G. Deleuze and F. Guattari and used the concept of nomads to interpret processes in the educational field. According to D. R. Cole, nomads come to the educational system from outside. They decide to call themselves educators and start organizing the educational process, but in order to do that they need approval from the community (2015, p. 84-85). This presentation introduces a qualitative study that was conducted in Lithuania by interviewing the educators who work in the field of non-formal education, which is the main force for implementation of the Lifelong learning strategy. The aim of the study was to learn about the movement of nomads in the field of non-formal education that is not marked by rules or regulations, to know how the nomads enter the territory of non-formal education, how they gain approval for their activities and how by their non-regulated activities they are changing the territories of education.

No presente artigo buscamos mostrar a importância do pensamento de Gilbert Simondon, mais especificamente de sua forma de colocação do problema da percepção, para o campo da arte. A contribuição de Gilbert Simondon se faz relevante pois permite pensar uma abordagem do acontecimento artístico que escapa das armadilhas de um pensamento dicotômico segundo o qual haveria sempre uma escolha a realizar: ou falamos do aspecto formal e objetivo da obra, abrindo mão da dimensão da experiência e das relações da arte com outros processos vitais; ou nos restringimos aos significados e efeitos da obra, o que nos colocaria em sintonia com uma abordagem subjetivista que remete às intenções ou motivações do artista e às expectativas e preferências do espectador. A partir de uma discussão da leitura inventiva que Simondon realiza da Psicologia da Gestalt e articulando-a com o trabalho de autores como G. Deleuze e F. Guattari, tomando nesse sentido os conceitos de campo, metaestabilidade, forma, informação e modulação como fio condutor, mostraremos que é possível pensar em um mesmo movimento a consistência impessoal da obra e sua potência de novas atualizações ou individuações. Isso é importante pois aponta para a mobilização de uma dimensão não recognitiva da percepção na experiência com a arte. A obra se coloca então como dispositivo de experimentação. Analisaremos, finalmente, como esse caráter de experimentação sensível confere à experiência com a arte uma dimensão de produção de subjetividade e consequentemente, seu alcance político.

The purpose of the article consists of the determination of the methodological basis of the phenomenon of "Entertainment" in the discourse of postmodernism. The research methodology consists in the application of the analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of "Entertainment" in the discourse of postmodernism; the hermeneutic method - for the interpretation of the semantic content of the phenomenon of "Entertainment" in the context of the theories of post-structuralists and post-Freudians in the discourse of postmodernism; we use the historical and cultural method to investigate holistic images-concepts of the phenomenon of "Entertainment" in Western European culture in the discourse of postmodernism. The scientific novelty of the work is that for the first time the essence of the phenomenon of «Entertainment» in the theories of post-structuralists and post-Freudians in the discourse of postmodernism. Conclusions. The phenomenon of "Entertainment" begins to be seen as a form of manifestation of visual culture in the discourse of postmodernism, this phenomenon does not reflect reality but simulates this reality through experiments with artificial reality. Each context has exhaustive possibilities for its reading and interpretation, any element of artistic language can be used in another - social, political and cultural - context, or it can be influenced outside the framework of any context, which in a vivid way became the basis of the phenomenon of "Entertainment" (J. Derrida); «Entertainment» is a form of ironic rethinking in the aspect of the response to postmodernism to the avant-garde, on the recognition of the impossibility of destroying the heritage of the past and a call for an ironic rethinking of this past (R. Rorty); the essence of «Entertainment» is the process of combining already existing art forms (J. Baudrillard); - all aspects vividly prove that the philosophical concepts of R. Barthes, J. Baudrillard, J. Delioz, F. Guattari, F. Jameson were the methodological basis of the phenomenon of «Entertainment» in the discourse of postmodernism.

Целью статьи является описание общих контуров онтологии образования в эпоху нового кочевничества, исходя из особенностей этого социокультурного явления и онтологии самого сетевого цифрового общества. Представлены факторы, обусловившие появление, развитие и глобализацию нового кочевничества; сущностные характеристики новых кочевников; а также их основные типы: цифровые (или электронные) кочевники, знаниевые кочевники и студенческие кочевники. Приведены примеры существующей практики кочевого образования и предложены его перспективы. В общем виде определены основные принципы, методы и форматы кочевого образования, отражающие онтологию сетевого цифрового общества, а также мировоззренческие установки и образ жизни новых кочевников. The purpose of the article is a description of the general framework for the ontology of education in the era of digital nomadism. This framework is based on the specific features of digital nomadism as a socio-cultural phenomenon and the ontology of the network society. The article describes the milestones in the history of the “new nomadism” from the 1960s to the present, with a focus on the research of M. McLuhan, G. Deleuze, F. Guattari, J. Attali, T. Makimoto, D. Manners, W. J. Mitchell, J.W. Moravec et al, S. Lusmägi. The paper presents the factors that preconditioned occurrence, development, and globalization of a new type of nomadism, essential characteristics of new nomads, and their classification: digital (or electronic), knowledge nomads (knowmads), and students as nomads. The paper contains examples of the existing practice of nomadic education and proposes its prospects. The general principles, methods, and formats of “nomadic” education have been determined. They reflect the ontology of the network digital society and the world-view attitudes and lifestyle of new nomads. The presented model does not pretend to be the full representation of the ontology of “nomadic” education but sets a certain reflection vector necessary for understanding this phenomenon.

"El arte no es jamás un fin, es sólo un instrumento para trazar líneas de vida"Gilles Deleuze & Felix Guattari (1980)Esperamos que la intención y contenidos de este monográfico que ahora está a la vista, no sugiera una alusión a moda alguna. No nos hemos alinderado en torno a la Paz al hilo de conversaciones, acuerdos, plebiscitos, plazos, disentimientos, etc. Para nuestra facultad, la Paz no es asunto coyuntural, se ha forjado como complemento medular y estructural de reflexiones, investigaciones y procesos de formación que ahora pueden hacerse visibles. Equiparamos Arte y Paz, por considerar el Arte como camino, vemos en él, y en la Educación, la construcción de seres humanos integrales, individuos no fragmentados ni escindidos, con cuerpo, mente y espíritu, capaces de construir ese relato nacional que tanto necesitamos. El Arte es, también, imbricación de sociedades, culturas, territorios y prácticas a modo de sedimentos a los que se supeditan dinámicas de construcción de identidad, representación de colectivos, constitución de subjetividades, producción de formas de ser y habitar en un mundo cada vez más frágil.En tales condiciones vemos la Educación y el Arte como acontecimientos (Deleuze, 2005), en sentido heideggeriano (1997) como “ámbito oscilante, mediante el cual hombre y ser se alcanzan uno a otro y alcanzan lo suyo esencial” (pág. 89), el arte se muestra entonces, como la esencia de ese ser hombre, puede ser eso que nos constituye y hace del arte el ser o ese habitar estético del hombre. El arte como acontecimiento es fundante de nuevos sujetos, por ello es en sí mismo un acto en potencia, imaginémonos entonces, toda la carga simbólica de transformación que él conlleva.Es que Arte, Educación (y la Paz) han de afectar al individuo, le ocasionan ciertas crisis; ¡trastornan! La experiencia educativa comparte con la experiencia estética el efecto de alterar sensibilidades, emociones e intelectos, transformar las subjetividades a propósito de la ruptura creada por el acontecimiento. Como se trata de generar futuro vivible, un escenario cada vez más posible de Paz exige reconfigurar el proyecto educativo de la nación considerando volver a la persona, a la producción de sentido estético de sí, al reconocimiento, la aceptación propia y ajena, la construcción simbólica de la reparación y el acercamiento al Otro. Tener a la vista la Paz es, de suyo, el entorno que nos define como promesa de un futuro posible y escenario de creación factible.El Arte nos recuerda nuestra compleja plasticidad, lo que hace decir a Richard Rorty (1996), uno de los más renombrados filósofos de la actualidad, que no hay humanos paradigmáticos; empero, una educación centrada en la persona y nucleada en torno a procesos estéticos y pacificadores, abrirá compuertas para su constitución. El arte es en sí mismo acontecimiento, y, como la Paz, añade vida a la vida, o si no observemos los efectos estéticos del perdón y la reconciliación en los que volvemos al núcleo vital de la humanidad: el anhelo y la certeza de cambio. En el arte, como la educación y en el perdón: hay trasformación, porque son, ante todo, conmemoración de la vida, acontecimientos confirmativos. Lo decimos en palabras de Mario Perniola (2001) “Para la existencia de lo estético se hace esencial, al menos, la posibilidad del fin de un conflicto, de una paz venidera, de un momento pacificador en el que dolor y lucha se vean, sino definitivamente cesados, sí, al menos, momentáneamente suspendidos”. (p. 194). ReferenciasDeleuze, G. (2005) Lógica del sentido. Barcelona: Paidós.Deleuze, G. & Guattari, F. (1980) Mille Plateaux. Capitalisme et schizofrenia. Paris: Les Ediciones du Minuit.Heidegger, M. (1997). Ser y tiempo. Santiago de Chile: Editorial UniversitariaPerniola, M. (2001) La estética del siglo XX. Madrid: Antonio Machado Libros.Rorty, R. (1996) Contingencia, Ironía y solidaridad. Barcelona: Paidós.

Nowadays, when our society runs towards the «global village», as it was seen by M. Mc Luhan, every place in the planet is connected to any other like a rhizome (remember the concept by G. Deleuze and f. Guattari) and it´s impossible to think that the human being may get in touch with his environment directly through his senses, knowing the real world at «first-hand». So, the function of the mass media is essential; simply because of a physical reason, the man is not able to be in praesentia in every world event. For instance, television replaces direct sensory perception of events for a «lead» perception, controlled by one or more power groups, those ones that own the media, which turn reality into a homogeneous construction ready to be watched. Television messages gets into a a way of representation, that makes the world open to the viewers. En los tiempos que corren, en los que la sociedad se encamina hacia la «aldea global», tal y como profetizaba McLuhan, en los que cada punto del planeta se encuentra interconectado con cualquier otro a modo de rizoma (recordemos el concepto apuntado por Deleuze y Guattari), es imposible pensar que el hombre pueda acceder a su entorno directamente a través de los sentidos, conociendo la realidad «de primera mano». De esta forma, la función mediática es imprescindible; simplemente por una razón física, el hombre no puede asistir «in praesentia» a todos los acontecimientos mundiales. Por ejemplo, la televisión sustituye la percepción sensorial directa de los acontecimientos por una percepción «dirigida», por uno o más grupos de poder, aquellos que controlan el medio, que convierten la realidad como tal en una construcción homogénea lista para ser consumida. El mensaje televisivo se convierte de esta forma en una manera de representación, que hace accesible el «mundo» a los telespectadores. Ahora bien, todo ese proceso complejo viene acrecentado por dos grupos de factores: por un lado, las características propias del medio televisivo, la fragmentación, la heterogeneidad y la ausencia de clausura; y por otro, nos encontramos con el arduo problema de la apariencia y la verdad en televisión, punto clave para entender la relación contractual del receptor y el medio en cuestión. El discurso televisivo no se entrega al destinatario con un sentido definido y realizado, sino que le facilita una propuesta para que la interprete. El significado de dicho texto nace de la confrontación del mismo y su destinatario; en esa dialéctica que dará como fruto el sentido juegan un papel importante dos factores: la posición que asigna el texto al telespectador y la situación que el contexto social asigna al destinatario. De esta manera, la operación del sentido se configura como una parcela absolutamente activa y profundamente arraigada en el seno de lo social. Hemos comentado que una de las características que distinguen a este medio del resto es la heterogeneidad genérica; pues bien, esto puede provocar que el espectador confunda unos y otros tipos de programas y no acierte a comprender del todo cuándo debe aplicar unas normas u otras en un entramado caracterizado por la verosimilitud. Por otro lado, las relaciones entre apariencia y verdad originan que ciertos telespectadores tengan el «problema» de pensar que el mundo se halla íntegramente en la televisión. De esta manera, aquello que no se encuentra en la pantalla, no ha sucedido realmente, o bien, ciertos acontecimientos que pasarían desapercibidos, cobran una importancia desmesurada gracias a la televisión. Además, la manipulación de los medios puede llegar a construir una realidad «a medida» para aquellos grupos de poder que controlan los medios de comunicación, imposible de contrastar por los espectadores, los cuales son incapaces de comprobar la existencia real de ciertos acontecimientos por la propia limitación física. Casetti y Di Chio delimitan varias áreas de análisis del consumo televisivo para acercarnos al fenómeno perceptivo con una serie de datos cuantitativos que permitan su interpretación posterior y tal vez la posible paliación de algunos de los efectos anteriormente comentados. Ahora bien, estos datos cuantitativos distan mucho de mostrarse como suficientes para una intervención activa sobre el consumo más o menos responsable de la televisión. La formación de un receptor crítico es la pauta esencial para asegurar el consumo consciente y plenamente responsable; esta «educación televisiva» debe contemplar pasos como ofrecer criterios acerca de la realidad o facilitar datos acerca del papel de los medios y su función social. La educación del telespectador se convierte así en la manera más efectiva de alcanzar un proceso comunicativo estable, responsable, rico y, sobre todo, consciente, de tal modo que el receptor ejerza su consumo con las herramientas oportunas que permitan evitar problemas contractuales con el medio.

Since the re-branding of Free Software into Open Source in 1998, ‘open’ has become the buzzword for all things progressive on and off the Internet. In every domain, we find initiatives with an ‘open’ in their name: Open Law, Open Hardware, Open Culture, Open Publishing, Open Access or Open Archives are just some of the many concepts which are being retooled to serve the more or less defined public good in the Information Society. Yet despite this new-found openness to the ‘open’ there is very little critical discussion on the expansion of openness as a concept to many different contexts, ranging from the board rooms of global corporations such as IBM to the temporary media centers of the anti-globalization activists. On the level of political theory, the most important formulation of openness remains that of Karl Popper, published over half a century ago, in 1946. Popper had a very clear idea what makes a society ‘open’ – an institutional mechanism to detect, discuss, and rectify its own inevitable errors. The billionaire financier George Soros popularized Popper’s notion of the ‘open society’ in the late 20th century. A more common source of conceptual heft for validating open is the work of Gilles Deleuze and Felix Guattari, who juxtaposed the concept of a rhizomatic openness to the closure of branching and hierarchical structures. They were careful, however, to remind their readers that this was not a simple aesthetic or ethical choice. Yet, today the meaning of open’ is usually taken to be self-explanatory. In the same seemingly obvious way, ‘open’ always assumed to be a positive modifier, used indiscriminately and uncritically. With this issue of Media/Culture, we want to challenge the assumptions underlying the contemporary use of ‘open’ in technical, social and political discourse. Many of the seven essays in this issue take the Free and Open Source Software (FOSS) movement as their point of reference but address questions of far more general nature. What is the impulse behind this sudden explosion of ‘openness’? What makes a community ‘open’? Is open really always better or does openness imply its own set of dangers and its own particular forms of exploitation? What are the aesthetics of openness? Together with the authors of the essays, we hope that this issue open m/c will start a more critical discussion of the concept of ‘openness’, so that we can assess its real potential without being sucked into yet another cycle of hype and disappointment. Citation reference for this article MLA Style Stalder, Felix & Wark, McKenzie. "Editorial: Open" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0406/01_Editorial.php>. APA Style Stalder, F. & Wark, M. (2004, Jul1). Editorial: Open. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0406/01_Editorial.php>

Data desire flows through protest in the Anthropocene. Citizen science, participation in online discussion forums, documentary film production, protest selfies, glacier recession GPS photography, poster making, etc., are just some of the everyday data proliferation efforts comprising resistance to environmental degradation and destruction. These practices – visualisation, datafication, writing, sign making, archiving geological memory, etc., are, I want to argue, produced pleasurably, especially as modes of emerging as ‘subjects’ in relation to the chaos, chaotic affects, and unprecedented pace of destructive ecological events that these practices try to grasp or ‘make sense of.’ Pleasures of data production are hence closely correlated to emerging as a subject within the Anthropocene. Such pleasures function beyond individual emotion, and in relation to subjectification within chaotic events such as climate change. In this article I propose the concept data desire to map out how ‘data’ and ‘subjectivity’ co-emerge in relation to material forces and how people take pleasure in their subjectification through ‘knowing,’ datafying, and creating ‘meaning’ out of material events which are chaotic or have chaotic affects (Guattari). I take up contrasting terms of ‘pleasure’ and ‘desire’, drawing on the thought of Gilles Deleuze ("Desire"; Essays), for whom pleasure is associated with a craving of individuation in light of chaos while desire speaks to the unlimited postponement of events from being summarised. One such event, and the event I focus on in this article, is oil. Here, I think of the event, not as ‘a moment’ or a ‘happening,’ but as that which has many iterations, instances, and bifurcations, and is often distributed in space and time (Deleuze, The Fold). I draw on my fieldwork in media practices of people taking part in the oil pipeline protests in British Columbia, Canada. I give examples of three data practices, and articulate the relation between media production, generation of ‘data’ and the production of subjectivity within the Anthropocene. These practices include data generation through participation in online news’ comment forums, data created as part of citizen science, and resistance ‘selfies’ or producing oneself as data to be circulated on social media. My analysis diverts from any interest in the representational function of media, towards how pleasures of data practices and the circulation of desire that these are a part of emerge, for many people, as the only ways of becoming subjectified in catastrophic environmental events.Pleasure and desire may not be the most obvious terms to think of when one thinks of resistance, particularly against environmental degradation. While pleasure has been an important aspect of activism, social movements, and feminist politics (e.g. Goodwin, Jasper, and Polletta; Sharpe), it has only recently been engaged with in relation to environmental activism, particularly by Craig, and Alaimo. Alaimo defines pleasure as an important aspects of material engagements and more-than-human ontologies marked by connection and kinship characterised by delight. Craig also calls for the recognition that pleasure is central to the everyday lived resistance found in environmental movements such as the slow food movement and urban farming that are anti-consumerist in orientation. These examples mark pleasure as part of the politics of resistance where the emotion emerges from the belief in a harmonious and symbiotic relationship to ‘nature’ and non-human matter through human emotion. Pleasure however, as I intend to show, can also be thought of beyond the individuating ‘emotion’ and as part of larger flows of desire, where ‘desire’ is conceptualised as vitality and ‘ongoing production’ (Deleuze & Guattari, Anti-Oedipus). Particularly, my focus on pleasure intends to problematise how pleasure through data production emerges perhaps as a mode of ongoing ‘coping’ of ‘navigating’ or of simply ‘trying to be a part of’ or attain some sensation of ‘agency’ amongst ecological catastrophes when being political are deemed to be ineffective or even futile.Data and Desiring-ProductionI propose ‘data desire’ as a concept for thinking about the ongoing social production of subjectivity through data production in the context of the failure of representation in the Anthropocene. Gilles Deleuze ("Desire") argued that pleasure is an individualised emotion related to failures of representation: “pleasure seems to me to be the only means for a person or a subject to ‘find themselves again’ in a process which overwhelms them” ("Desire", n.p.). Such an emotion is one of the outputs of a flow of desire that is non-individual, and not only human.Desiring production “causes the current to flow” (Deleuze and Guattari, A Thousand Plateaus, 5) between the event of oil and the production of subjectivity, both which propagate and bifurcate, and are continuously produced anew. Desire is characterised by vitality, or the unceasing capacity of processes to continuously become difference, to continuously change, rather than ‘arrive’, ‘conclude’, or ‘be.’ In other words, to think with ‘desire’ is to note how production flows, like a current, through ‘overwhelming’ events that including oil, and through subjectification, both of which continuously emerge in new contortions and produce new affects. The pleasure that emerges through a subject being produced, or a subject ‘coming into being’ by way of producing data – summarising, visualising, representing, and trying to give ‘meaning’ to ‘the event’ – is affected by the ongoing ability of ‘the event’ to multiply and be postponed from being summarised, as it proliferates and reproduces itself in ever new human and non-human bifurcations – oil spills and leaks, protests, policies, bitumen, new movements, new rhetoric, new sanctions, new pipelines, etc.Malins for instance notes how desireis not that which a pre-existing subject has for something, nor is it motivated by individual lack or the pursuit of pleasure. It is instead best understood as a pre-subjective, pre-conscious life force or energy that flows between bodies, connecting, animating and transforming them. (2)Data desire is therefore most importantly not a feeling that emerges out of a lack of data, or a desire for data. Rather data desires suggests that data practices become modalities through which people involved in environmental resistance can continuously ‘sense’ themselves as part of the event, or gain the sensation that they ‘are’ political, even if only as a sensation and only if momentarily, and within catastrophic events that are also always changing and defy representation. Events such as oil hence require analysis of the entanglement or multiple ways in which processes of subjectification, ecology, and media practices are in themselves multiple and folded together in multiple ways, something Guattari called the three ecologies, and more recently, Murphie referred to as a catastrophic multiplicity. This orientation towards desire as production positions the analysis of the pleasure of data practices beyond that of an individual into the realm of social production.Data Desire Fieldwork in the Oil-EventMy fieldwork focussed on the data practices of residents living in oil pipeline conflicts in British Columbia. This research included examining the media practices and everyday data engagements of residents engaging with and concerned about two oil pipeline projects: Enbridge’s Northern Gateway Pipeline, which would move crude oil from Edmonton and terminate in Kitimat in Northern British Columbia, and Kinder Morgan’s Trans Mountain oil pipeline that also would move crude oil from the Alberta tar sands to Burnaby, British Columbia. This later pipeline already exists, although the proposed project aimed at twinning of the oil pipeline would substantially increase oil tanker traffic along the West Coast and generate new risk of oil spills, given its increased capacity. As part of my research I spoke with a total of twenty-four (24) residents, and six (6) environmental non-governmental organisations (ENGOs) in Northern British Columbia and the Vancouver Metro Area to examine their media practices, digital strategies and other, everyday data practices in the oil pipeline conflict.Against the backdrop of an uptake in big data’s relation to ecological transformation (e.g.: Ruiz; Hogan; Maddalena & Russill), I found the displays of pleasure accompanying individuals’ ostensibly everyday ‘small data’ productions as enunciations of subjectivity and resistance in the oil pipeline movement, under-examined and intriguing. Oil pipeline resistance can be charted along affective lines of pleasure associated with data practices, as people living in oil pipeline conflicts find themselves amidst an ever-expanding flurry of directions and affects that oil takes on: #NoDAPL, the Kalamazoo oil spill, the Conservative party leadership, Indigenous law suit claims, hypocrisy rhetoric, oil pipeline decisions approved, challenged, and deferred at municipal and federal levels. Oil is hence not only a substance but an event that continues to swirl off in new directions, and encompasses and also connects with a multitude of other events, such as urbanisation, 300,000 airplanes taking off and landing on a daily basis, peak oil, and animal extinction. I therefore consider ‘events’ not as ‘happenings’ or singular image events (DeLuca; DeLuca & Peeples; McHendry; Yang) in the way they are often conceptualised within environmental communication literature, but as something that is ongoing, and often extensive beyond a single time and space. Image events may be one of the expressions of a broader and larger (conceptualised as having multiple expressions) event taking place. This section provides three examples of pleasures of emerging as subjects through data practices as political resistance to oil. These include contributing to discussions in online forums, engaging in citizen science, and proliferation of photos of authentic ‘non/environmentalists’ faces on social media.The first example of subjects emerging through practices of data desire is the production of online data, especially in online political forums or online news comments sections. Here, we might envision the pleasure of data production, in the form of writing online comments, as correlating to the individual wish to ‘count’, particularly as ‘individuals’ are seen to be peripheral to geological forces and capitalist machines of oil production, as well as to the processes of decision making, lawsuits, and municipal and regional politics. One example from this study demonstrates how residents living in oil pipeline conflict areas take pleasure in consuming and producing data. The excerpt below comes from a conversation I had with a resident living in and resisting the Trans Mountain oil pipeline expansion in the Vancouver Metro Area. This resident, an avid canoer and computer programmer in his thirties, showed immense pleasure in generating data in the form of contributing to news comments sections. Below I treat the participant’s talk not as an ‘account’ in the positivist sense in which ‘interview data’ might be taken to represent ‘participants’ voices.’ Rather, I treat such expression as a flow of desire that flows through individuals, often constituting them as subjects.I love discussing these issues. I love identifying what is not necessarily of paramount concern as opposed to what is. I have a lot of conversations. I have friends involved in policy. And I read. I’ve got news alerts coming my way from—you know, I must have about twelve Google alerts coming up just regarding pipeline issues and environmental issues. It’s become such a passion for me that I almost was sad once I felt it was finally defeated. I would get up in the morning and hop on the computer to read the latest articles and, you know, respond to comments and stuff. Often what I’m more interested in than the news article is the comments because it tells me where the Overton window is at any given time. I mentioned that some people attend rallies and stuff, well I post to the comments sections and I have conversations all the time online.As seen in this excerpt, pleasure/the subject emerge simultaneously through projects of comprehension and expression. The excerpt shows how contributions to conversations are ‘productive’ not in terms of any kind of political outcome, but in terms of a sensation of emerging/becoming subjectified in the event. Pleasure manifests within projects related to constituting subjectivity by not only consuming data, but also contributing to its ongoing production. In other words, this resident living in an oil conflict area found pleasure in calculating the Overton Window of online news comments about the oil pipeline, as well as in being constituted within the event as a political ‘subject’ by producing ‘data’. His becoming ‘subject’ was concurrent to a sensation of being able to ‘summarise’ the event and its articulations under ‘a unity’ and giving some ‘meaning’ to the constantly shifting event of ‘oil’. While both ‘the subject’ and ‘oil’ keep being produced anew, the momentary emotion of ‘pleasure’ functions to give a sensation of albeit temporary coherence. Here, as Deleuze and Guattari (A Thousand Plateaus) argue pleasure is “an affection of a person or a subject, a way for people to ‘find themselves’ in the process of desire that exceeds them” (156). This ‘excess’ characterises the evasiveness of ecological events and objects from being ever truly graspable, comprehensible, represented, or even ‘known’ to humans. de Freitas for instance notes how matter is already mathematically monstrous, quite literally multiplying, and evasive in its capacity to be ‘calculated’ (3). Input through online comments are therefore attempts at contribution to calculations, ‘making sense’, and also to feeling ‘counted’, attempts which in themselves amount to a great pleasure.The second example of subjects emerging through practices of data desire involves citizen science as a mode of data generation. Practices such as citizen science became pleasurable activities of subjective enunciations – practices of a ‘subject’ coming into being against, or within, this chaos, through data generation. Citizen science is a prime example of residents living in oil pipeline conflicts becoming enunciated – pleasurably – as subjects in the oil pipeline conflict in BC. Citizen science, for example, can take many forms. Streamkeeping, the act of taking care of local streams, is a key form of citizen science in areas facing oil pipeline conflicts, particularly as it puts data practices front and centre as part of resistance. While streamkeeping has many aspects to it, including stream clean-ups, a key component is the production of data about ecosystems health, which including wading into water to count fish, measure construction runoff such as silt, gravel, and sediment, and create comparative archives. Measuring, noting salmon counts, documenting debris emerged as pleasurable ways of engaging in pipeline politics–emerging as a subject, by way of somehow trying to datafy the oil-event, by making it ‘meaningful.’Data production functions to mathematically calculate a course of action within a concoction of persuasive efforts of oil pipeline corporations, environmental non-governmental organisations, governments, activist, and neighbours to define what ‘political subjectification’ might look like. Science is in perpetual struggle against chaos (Deleuze and Guattari, What Is Philosophy?) and data generation through grass-roots citizen science becomes a tool, or an instillation of data about a changing biome through which to encounter oil, and through which to emerge as a subject in relation to oil. Production of data as part of ‘citizen science’ also functions as a way through which to assert ‘independence’ and stage some resistance within a multiplicity of other ways in which oil becomes a reason of various attempts to define ‘political subjectivity’, such as ENGO campaigns, government statements about the ‘right’ and ‘wrong’ process to show resistance to the oil pipelines, and the branding of environmentalists as ecoterrorists. Perhaps data production becomes a way to effectively fold oneself into the oil event, without needing to confront a lack of other ways one could, or might resist oil pipeline development.The third example of the circulation of data desire are the increasingly common expressions of individuated pleasures associated with showing ‘faces’ of people engaged in environmentalist issues like oil pipelines, on various social media feeds that try to portray ‘real’ political subjects, in contrast to stereotypical representations of ‘activists’ or ‘environmentalists.’ Here I am specifically talking about selfies taken at environmental protests. Such productions of images of ‘authentic’ political subjects within oil movements has been a popular way to demonstrate authenticity of resistance efforts within environmental movements, particularly in relation to a struggle against accusations of hypocrisy fed by oil pipeline corporations and pundits (Piotrowski). Given the numerous social media feeds of environmental anti-oil pipeline groups that attempt to show ‘faces’ of ‘real’ political subjects, these depictions attempt to produce subjectivities, particularly with the intensifying circulation of what might be thought of as “faciality enactments” (Piotrowski, 849). Here, ‘faces’ are generated as ‘data’. The continuous production of faces/data becomes what counts, or matters, within resistance, as a way of continuously reproducing environmentalist subjectivity, particularly at a point of ‘crisis’ of environmentalist group identity. Such micro-productions and pleasures of individual faces on social media feeds or Instagram posts, are part of flows of data desire: the desire of individuals to emerge as subjects within a multitude of stereotypes about environmentalism; the desire for environmentalism to assert itself as meaningful within ecological events such as ‘oil’, and the desire of corporations to assert different rhetorics about both oil and environmentalism itself.To close, I have articulated that a subject – a subject that takes part in ‘their’ resistance to ecological degradation – is a residual one, the product of a circulating flow of pre-personal data desire. This data desire exceeds individual pleasures and undulates between the chaotic event of oil, its continuously shifting political, economic, and social affects, and ‘a subject’ also continuously trying to be enunciated and ‘individuated’ in the event. Satisfaction, or pleasure, becomes the individual expression of a larger circuit of circulating desires which shows the flows of data between the expressions of material and ecological events which generate all sorts of breakdowns in meaning about ‘the human’ and the Anthropocene, and between breakdowns of activist’ subjectivity. Desire functions as a mode of inquiry that moves thinking about pleasure beyond individuals’ emotions of ‘their’ craving for individuation and meaning within the chaos of the Anthropocene and in the anti-oil pipeline resistance. Rather than see data production as a response to a lack of information, I have shown how data desire, as a concept, can help to think about ontological production, or the production of subjects. This ontological production refers both to the event’s capacity to become continuously different and unforeseen, and the subject’s ongoing self-production through data practices. Three examples discussed here – participation in online news comments sections, citizen science, and production of activism selfies are just but some of the media practices that are part of the circulation of data desire, though there are undoubtedly more.ReferencesAlaimo, Stacy. Exposed: Environmental Politics and Pleasures in Posthuman Times. Minneapolis: U of Minnesota P, 2016.Craig, Geoffrey. “Political Participation and Pleasure in Green Lifestyle Journalism.” Environmental Communication 10.1 (2016): 122–141.Deleuze, Gilles. The Fold: Leibniz and the Baroque. New York, NY: Continuum, 1993.———. Essays Critical and Clinical. Minneapolis, MN. 1997.———. “Desire & Pleasure.” Trans. M. McMahon. Unpaginated. 1997. 1 Aug. 2018 <http://www. artdes.monash.edu.au/globe/delfou.html>. Originally published as "Désir et Plaisir" in Magazine Littéraire 325 (Oct. 1994): 59–65.———, and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Trans. R. Hurley, M. Seem, and H.R. Lane. 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