Academic literature on the topic 'Schizoanalysis'

Human life is engaged in a continual process of mapping and modelling the external universe. From the immediate level of sensation to more abstract forms of emotional and cognitive mapping, the human organism builds a web of inner experience which forms the basis for the construction/perception of "reality." This act of learning forms the genetic, neural, linguistic, and social programing by which individual and collective subjectivity is constructed. Theories in philosophy and science are simply more abstract higher- level models of reality akin to our neuro-semantic mappings. They are similar to cultural, artistic, and religious stories in that their modelling includes not only process but the organized gestalt of content which endows the model with meaning in inner experience. If we move to a higher level of modeling by metamodeling we can understand how various theories of human life have mapped reality. The transversal linking of various theories or models allows us to create clearer maps about process and to transcend the differences resulting from content which supply meaning to inner subjectivity and which organize theories, disciplines, and practices like religious belief systems. Schizoanalytic metamodeling engages this transversal process of communication by which two or more different perspectives of the real - two or more subjectivities or realities - are transcended by moving to the next higher logical level in a nested hierarchy of organization. Schizoanalysis was one of the names Felix Guattari and Gilles Deleuze gave to their lifelong project of reinventing psychoanalysis and therapeutic practice and extending it into the material and social field. By giving a name to this practice and outlining its essence they began to gather together the work of various clinicians, artists, philosophers, and scientists who - though isolated - were already engaged in such a project of transforming human experience and whose history has just begun to be told. The present work continues the development of schizoanalysis as a clinical and cultural practice.

In "A Poetics of Chaos: Schizoanalysis and Postmodern American Fiction," I use theories from physics and psychoanalysis together to explore narrative structures in recent American fiction. Chaos theory, which emerged in mathematical and biological discourses in the 1960s, postulates the intrinsic instability and unpredictability of many natural and physical phenomena. Theorists like Bertalanffy, Mandelbrot and Lorenz produced a vocabulary to account for these pervasive systems. In assessing historical, economic and, indeed, literary systems, we may draw terms from chaotic inquiry: bifurcation, fractal, moebial, reiteration, complexity, butterfly effect, strange attractors, and sensitive dependence upon initial conditions. '"Chaotic narratives*" may explicitly deploy (Barth, Pynchon, Gibson) or inadvertently express (Coover, Ondaatje, Powers) the structural features of chaotic systems. Such writing is characterized by a diffusion of linear chronology, as well as ontological and narrative fracture, repetition and variation. Literary theorists N. Katherine Hayles, Joseph Conte, Hanjo Berressem and others have discussed how chaotic scientific and psycho-social systems are not only invoked in contemporary literature, but are themselves the structural and philosophical underpinnings of postmodern culture. My thesis builds upon chaotic-literary criticism by investigating the psychological implications of "chaotic narratives." Drawing from the anti-deterministic "schizoanalysis" of Gilles Deleuze and Felix Guattari, I explain how writings by Don DeLillo, Paul Auster, David Foster Wallace and Mark Z. Danielewski perform and reflect the "orderly disorder" of psychic development. I advance the term "psychochaotics*' to describe a theoretical approach that uses principles from chaos theory to reveal the psychodynamic systems in postmodern fiction.

This is a project exploring camouflage and multifocality as a practice and theory based research, reflecting the mental state of disappearance that develops into multifocal existence, in the cultural context. The practice element consists of an installation, composed of four consecutive spaces, video-projections, paintings and objects, performing a trajectory between camouflage and multifocality. The first part engages with theoretical readings of camouflage as the effect of mimicry, proceeding into imperceptibility, consequently leading to loss of subjectivity, through self-shattering (Bersani) as a schizoanalytic process (Deleuze & Guattari) and the loss of identity within culture (Bhabha). Multifocality, therefore, is the materialisation of a rhizomatic structure and the multiplicity of gazes - as performed in installation art. Following the theoretical discussion, the subject-matter expands into two themes, articulating camouflage in contemporary art: There follows a view of the skin - as the location of self (Anzieu), and the Chinese understanding of the skin as a perforated layer, connecting the (hollow) body to the world (Kuriyama), where camouflage transforms skin into a visual membrane. Artists introduced here , are Yayoi Kusama, Takashi Murakami, Andy Warhol, Zhang Huan, and Seidou Keita among others. Disappearance and invisibility are considered as modes of intervention, through the media images of spectres of suicide-bombers (Derrida) and ghostwriting (Spivak). Consequently, invisibility ends in shattering and the consequent creation of multifocality. Artists presented include Banksy, Guerrilla Girls, Andre Serrano, Ibrahim Nubani, Morimura Yasumasa, Yinka Shonebare and others. Concluding with After Effects, I discuss projects that deal with multifocality as the final effect of the camouflaging process, and consider the works of Sawada Tomoko, Isaac Julien, Mike Nelson, Yan Zhenzhong, Kutlug Ataman, Candice Breitz and Mark Wallinger. The project is accompanied by images and discussion of my own visual work in relation to the intellectual texts and the work of other artists presented.

This thesis, as a work of applied schizoanalysis, focuses on the social, affective and pedagogical issues pertaining to communication technologies, and the breakdown and breakthroughs of individuals that use these technologies, particularly in educational institutions. Detailed attention is given to the nature of 'control societies’ (Deleuze, 1992) within Asian educational contexts. The core conceptualisation of the thesis is that the crisis in modern societies can be explained heuristically by utilising the notions of Zerrissenheit and schizoanalysis. The thesis argues that schizoanalysis can be used as a political and cultural tool with widespread application and relevance in exploring and explaining areas pertaining to education, language, communication and affect. Honing in on specific examples, the thesis explores the decline of writing, endemic passivity, detachment, and loneliness as striking forms of social schizophrenia in East Asia. Where applicable I use the concept of Zerrissenheit or torn-to-pieces-hood to test the interrogative power of this thesis as a schizo tool for explaining contemporary (a)social phenomenon. This thesis explicates upon and is informed by Gilles Deleuze and Félix Guattari’s individual and collaborative works, as well as the philosophy of Bernard Stiegler. This thesis contributes to the fields of continental thought and philosophy, and critical educational studies, by addressing the negative effects of technology and the proliferation of psychopathologies and maladies in Japan and further afield.

Made available in DSpace on 2014-06-11T19:31:31Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-17Bitstream added on 2014-06-13T18:42:15Z : No. of bitstreams: 1 estacioneto_f_dr_arafcl.pdf: 326855 bytes, checksum: 32bec744f07db20d8e8b5a9ec0e3f35a (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Este trabalho trata da produção da subjetividade no contexto escolar em uma perspectiva histórica, com ênfase na produção da subjetividade no mundo contemporâneo, analisando os desafios da educação escolar face a estas novas configurações subjetivas, tendo na Esquizoanálise o suporte para o entendimento e intervenção educacional. Analisa para tanto a produção da subjetividade no trabalho, na escola, nas redes e movimentos sociais e detalha os principais conceitos da Esquizoanálise relacionados ao espaço educacional.<br>This work deals with the production of subjectivity on the school context in a historical perspective, with emphasis on the production of subjectivity in the contemporary world, examining the challenges of education with these new subjective settings, having in Schizoanalysis the support for understanding and educational intervention. Analyzes for such the production of subjectivity at work, at school, on the networks and social movements and details the main concepts of Schizoanalysis related to educational space.

This study compares independent films from different countries (Turkey, Denmark, Iran and Spain) in a transnational context. Making use of schizoanalytic concepts, it presents an analysis of filmic space in relation to character construction in the internationally acclaimed contemporary films: Ten (Abbas Kiarostami, 2002), Talk to Her (Pedro Almodóvar, 2002), Two Girls (Kutluğ Ataman, 2005), Allegro (Christoffer Boe, 2005), The Others (Alejandro Amenábar, 2001), Destiny (Zeki Demirkubuz, 2006), Offside (Jafar Panahi, 2006), Dogville (Lars von Trier, 2003) and Climates (Nuri Bilge Ceylan, 2006). I argue that these films are feminist texts, in which becoming-woman of the female character deterritorializes the patriarchal ideal of home(land) as a political statement. In the above listed films filmic space is never configured as a harmonious unity of a righteous woman and a peaceful home. Despite the pervading homelessness, the female characters turn the male dominated public space into a habitable place through the filmic assemblages with space, objects and other characters. I also argue that the homelessness and the problematic connection between the female character and the storyworld posits a metaphor for the disconnection between the auteur-filmmakers and their home(land)s.

O presente trabalho teve como objetivo inicial abordar a questão da subjetividade considerando de um lado, este problema em relação à psicologia, e num segundo momento a discussão sobre a (produção de) subjetividade e devir desenvolvida na obra Deleuze e Guattari (Mil Platôs). Trata-se de entender como é possível articular a crítica dos processos de subjetivação, tal como a realizada pelos autores, com uma idéia de subjetividade, sem com isso desembocar numa psicologia do sujeito. Isto é, que subjetividade é essa, que não se confunde com suas estratificações, e que parece antes a possibilidade de uma vida, sem ser por isso uma subjetividade transcendental, mas um campo de imanência como afirmam os autores? Para respondermos esta questão, consideramos inicialmente o problema da subjetividade tal como ele emerge na psicologia, em razão de seus percursos teórico metodológicos, para num segundo momento - sob o viés dos agenciamentos e dos devires - discutirmos a questão da produção de subjetividade e os processos de singularização. De um lado, temos os agenciamentos maquínicos de corpos e os agenciamentos coletivos de enunciação, que articulando formal e substancialmente conteúdo e expressão atuam dimensionando o campo da experiência: os dispositivos. Por outro lado, temos os devires ou afectos, enquanto linhas de fuga que arrastam a subjetividade para zonas relacionais indiscerníveis que fazem vacilar o Eu na impessoalidade do Acontecimento. Portanto, é no campo das singularidades pré-individuais, nas relações entre forças que se compõe a experiência para além dos limites do perceptível. Ou seja, é a partir do entre-jogo das forças que se esboça a idéia de uma subjetividade (empírico-transcendental), simultaneamente: produto das relações de forças, e o próprio campo de forças que torna possível toda a relação entre as forças. Partindo desta perspectiva, cabe à psicologia fazer a cartografia dos afetos que são imanentes à constituição da subjetividade, segundo a qualidade das linhas (duras, maleáveis ou de fuga) e seus graus de intensidade. Não se trata de conceber uma teoria do sujeito, enquanto subjetividade substancializada no Eu, à moda da idade da representação. Para pensar em uma subjetividade livre do sujeito necessitamos pensá-la sobre o plano de composição das forças que tornam possível sua própria vida, forças estas sempre imanentes à própria experiência sensível com o mundo: hecceidades. O plano de imanência constitui o elemento genealógico da produção do real e que pode ser estudado sinteticamente por uma psicologia levando em conta as conexões, disjunções e conjunções que aí operam. Concluímos acreditando que essa discussão com Deleuze e Guattari poderá contribuir para com a psicologia, abrindo novas veredas, no sentido alçar luz sobre os processos que chamamos de subjetivação-dessubjetivação, tomados por nós como elementos-chave para uma análise da produção de subjetividade no mundo capitalista contemporâneo.<br>The present work had as its initial goal to approach the matter of subjectivity considering, on one side, that problem related to psychology, and, at a second moment, the discussion about (the production of ) subjectivity and becoming developed in the work of Deleuze e Guattari (A Thousand Plateaus). It is about understanding how it is possible to articulate the criticism of the processes of subjectification, as it is done by the authors, with an idea of subjectivity, without getting to a psychology of the subject, though. That is, what subjectivity is that, which doesnt mix with its stratifications, and that seems more like a possibility of a life, without being, because of that, a transcendental subjectivity, but an immanence field as the authors affirm? To answer that question, we initially considered the problem of subjectivity as it emerges from psychology, because of its theoretical-methodological ways, to, at a second moment based on the approach of agencying and becoming discuss the matter of the production of subjectivity and the processes of sigularisation. On one side, there is the machinic agencying of bodies and the collective agencying of enunciation, which, formally and substantially articulating content and expression, act in dimensioning the field of experience: the mechanisms. On the other side, we have the becomings or affections as lines of escape that drag subjectivity to undiscernible relational zones which make the I vacillate in the impersonality of the Happening. Therefore, it is in the field of pre-individual singularities, in the relations among forces that the experience beyond the limits of the perceivable is composed. That is, it is from the game between forces that the idea of a subjectivity (empirical-transcendental) is drafted, simultaneously: as a product of the relations of forces, and as the field of forces itself, which makes all the relation between the forces possible. From that point of view, it is psychologys role to trace the cartography of affections which are immanent to the constitution of subjectivity according to the quality of the lines (hard, malleable or of escape) and their degrees of intensity. It is not about conceiving a theory of the subject as subjectivity substantialised in the I, in the way of the representation age. To think of a subjectivity free of the subject we need to think of it in terms of the composition of forces that makes its own life possible, those forces always being immanent to the sensitive experience of the world: Hecceities. The ground of immanence constitutes the genealogical element of the production of the real and it can be studied synthetically by a psychology taking into consideration the connections, disjunctions and conjunctions which operate there. We concluded this work believing that this discussion with Deleuze and Guattari will be able to contribute with psychology, opening new ways, in the sense of casting light on the processes that we call subjectivation-dissubjectivation, taken by us as key-elements to an analysis of the production of subjectivity in the contemporary capitalist world.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2018-07-09T17:55:41Z No. of bitstreams: 2 Dissertação - Flávia de Bastos Ascenço Soares - 2018.pdf: 1890952 bytes, checksum: b9296330a95b9c49b8d40b81143b15fe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-10T11:20:36Z (GMT) No. of bitstreams: 2 Dissertação - Flávia de Bastos Ascenço Soares - 2018.pdf: 1890952 bytes, checksum: b9296330a95b9c49b8d40b81143b15fe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2018-07-10T11:20:36Z (GMT). No. of bitstreams: 2 Dissertação - Flávia de Bastos Ascenço Soares - 2018.pdf: 1890952 bytes, checksum: b9296330a95b9c49b8d40b81143b15fe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-27<br>This paper seeks to examine the notion of body from the perspective of Antonin Artaud, to discuss the processes of capture, as well as the possibilities of unclogging the body. We carry out a bibliographical cartography in every work of the author, published in Spanish and Portuguese. We found that for Artaud, there are three strata that propel the process of incarceration of the body: a first that embraces the idea of an awareness / reason overlapping the body, a second that mentions the existence of a soul / spirit condemning the potentialities of the body, and a third that deals with the struggle between the body x organism. Next, we mapped his proposal for the body's unconsciousness, based on two configurations of the same abstract machine: a first that encompasses the idea of cruelty which seeks to break with the productive organization of bodies; a second that deals with the creation of a body without organs, which would be a permanent search for intensities, that is, an active revolt against the strata that imprisoned the human body. Thirdly, we analyze Artaud's criticism of Western theater, to discuss the ways in which the theater gave up its transforming power. Then we will bring your inspirations about the Eastern theater, more specifically, the Theater of Bali, which propelled him towards the creation of a new theatrical practice. Finally, we will discuss the actualization of the concrete machine - the proposal of a new theater - the Theater of Cruelty, which we consider the concretization of all the virtuality and intensity of its elaborations.<br>Este trabalho busca examinar a noção de corpo sob a perspectiva de Antonin Artaud, para discutir os processos de captura, bem como as possibilidades de desencarceramento do corpo. Realizamos uma cartografia bibliográfica em toda obra do autor, publicada em espanhol e português. Verificamos que, para Artaud, existem três estratos propulsores do processo de encarceramento do corpo: um primeiro que abarca a ideia de uma consciência/razão sobrepondo-se ao corpo, um segundo que menciona a existência de uma alma/espírito condenando as potencialidades do corpo e um terceiro que trata da luta entre o corpo x organismo. Em seguida, mapeamos sua proposta para o desencarceramento do corpo, com base em duas configurações de uma mesma máquina abstrata: uma primeira que abarca a ideia de crueldade a qual visa ao rompimento com a organização produtiva dos corpos; uma segunda que trata da criação de um corpo sem órgãos, que seria uma permanente busca por intensidades, ou seja, uma revolta ativa contra os estratos que encarceram o corpo humano. Em terceiro plano, analisamos a crítica de Artaud ao teatro ocidental, para discutir por quais vias o teatro abriu mão da sua potência transformadora. Em seguida, traremos suas inspirações acerca do teatro oriental, mais especificadamente o Teatro de Bali, que o impulsionou rumo à criação de uma nova prática teatral. Por fim, discutimos a concretização de sua máquina concreta – a proposta de um novo teatro –, o Teatro da Crueldade, que consideramos ser a atualização de toda a virtualidade e intensidade de suas elaborações.