: Micropolitica: Cartografias do desejo. GUATTARI; ROLNIK. Micropolítica cartografias do desejo Uploaded by lubuchala GUATTARI; ROLNIK. Micropolítica cartografias do desejo. Micropolitica: Cartografias Do Desejo. Front Cover. Félix Guattari. Vozes, – pages Bibliographic information. QR code for Micropolitica.
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It is no doubt because they feel the need to confront the oppression of domination and exploitation on their own terrain, which result from the cagtografia relation between capital and culture under neoliberalism, that artists began to cartofrafia for extradisciplinary strategies, adding a macropolitical dimension to their actions.
At this point Lygia Clark became aware that the fulfilment of one of the central questions of her artistic research — the reactivation of this quality of aesthetic experience in the receivers of her creations — was not at all self-evident.
The Museum of Contemporary Art, In this exodus, other means of artistic production and also other territories of life are created thus the tendency to organize into collectives and to maintain relationships with other such collectives, sometimes gathering around common aims in the cultural or political terrain, then returning micropolittica autonomy again. Today, common sense tells us that the border between technology formerly known as nature and culture is a fluid one.
What had been a remedy for wounded desire began, paradoxically, to have the effect of arresting that desire.
Such approximation finds reciprocity in the social movements, which, in their turn, are led to incorporate a micropolitical dimension to their activism, traditionally limited to macropolitics. Click to start a discussion of the article above. In other words, what this kind of practice can elicit in those who receive it is not simply the consciousness of domination and exploitation in its visible, macropolitical side, which activism brings.
To promote a work of memory by means of interviews recorded on film was the pathway I found towards an answer to these questions. Because social life is the final destination of the inventive force instrumentalized in this way — systematically taken out of its course and channeled into the production of the intoxicating imagosphere — social life is precisely the place which many artists have chosen to set up their critical devices, when they are driven out of the equally suffocating terrain of artistic institutions.
Oil with polyvinyl acetate emulsion on plywood and nylon mesh, plastic sheeting. My supposition was that only in this way could the condition of the dead archive that characterizes the documents and objects left over from these actions could be overcome, so as to render them elements of a living memory, producing differences in the present.
From the micrppolitica of the unusual territory that the artist constituted with her oeuvre, aesthetics, therapeutic and politics are revealed as potentials of experience, inseparable in their act of interference in mifropolitica and objective reality. Nonetheless, at the close of the s it began to weaken, due to the wounds inflicted on the forces of creation by the increasing virulence of the dictatorship after the promulgation of Institutional Act Number 5, known jicropolitica AI5, in December of .
Perhaps it was because his figure intimidated the fragility of my twenty-four years, even if nothing in his attitude justified any kind of reverence or inhibition.
It is in the face of this deadlock that the artist created Structuring of the Selfthe last gesture of her oeuvre, which unfolded after her definitive return to Rio de Janeiro in But how to transmit work like that of Lygia to this kind of space? It was necessary to incite people toward a work of elaboration of this intense experience off an entire generation, a work that had been micrololitica as a result of the superimposition of the deadly effects of the dictatorship and of neoliberalism on the exercise of thought task which I would face armed with my thirty years of psychanalytical practice.
Suely Rolnik: The Body’s Contagious Memory |
One expects that this will relieve, at least for some time, the unease produced by the process of differentiation unleashed by the living presence of others. He stands before us, large as life, the old artist in his museum. In the case of the curators, for example, such vulnerability serves to sense the artistic proposals that hold the power to update such up to then virtual problems, thus taking up the ethical responsibility of their function, in full awareness of the political and clinical value of the artistic experience.
He replied immediately, with his habitual generosity and elegant writing in which there are neither too many nor too few words to say the unsayable and nothing more.
I went back, and never for a micripolitica doubted the wisdom of that decision. The teacher is Tamia, whose repertoire is contemporary music and free jazz, an effervescent current within the Parisian s.
Deleuze, Schizoanalyst – Journal #23 March – e-flux
Thus they favor other uses of images, other forms of reception but also of expression, which can introduce new doo of subjectivity and its relation to the world — that is, new configurations of the unconscious in the social field, which break from the dominant references. The extradisciplinary trend that arose in the s is a response to this dead end, and to the questions that emerge from the context of neoliberalism, whose international hegemony coincides with the appearance of this generation of artists.
The curious thing is that the body reveals its petrification at the same moment when the delicate stream of voice punctures it, as if cartogratia and voice were somehow interlocked. The proliferation of this kind of politics of desire develops a fertile ground for forms of leadership that embody it and provide a cartogarfia point for it: Lygia built up this new public with her objects and devices, through a relationship with each one of her receivers, having a politics of subjectivation as co goal and duration as a means the precondition for intervening in this field, which allows her to reintroduce otherness, imaginative creation and becoming.
In any case, here is the unexpected figure of the schizoanalyst Deleuze. If the artist were alive, would she have opted for this double circulation which has become possible once again today?
During those decades, a broad movement of institutional critique had shaken the field of mental health, provoking irreversible ruptures. However, if we want to sense the situations that carry such powers, it becomes necessary to remove the hierarchy of cultural values in the established imaginary cartography and, above all, to tune our hearing to the effects that each encounter mobilizes—these effects should be the privileged criterion for orienting our choices.
There is nothing related. What he was certainly saying between these words was that, in order to resurrect the will to live and the pleasure of thinking, it is always possible to bring desire back after it breaks down.
It is probably because of this shift that, during that particular class, everything happened at once—the return of the timbre, the discovery of the hard shell that had been covering me, and the feeling micropolitida asphyxiation it had come to give me.
The new context leads to the collaboration between artists and activists which allows going beyond the rift between micro and macropolitics that characterizes the turbid love-hate relation between artistic and political movements throughout the twentieth century, which is responsible for so many defeats of collective transformative attempts. As I sing, a similar vibration takes over my own voice; hesitant at first, the timbre slowly builds up and gains body, becoming more and more crystalline.
But now something else has taken place, and it did not happen in the doldrums of virtuality, but in the streets and squares of Tunis, Cairo, Benghazi, and elsewhere. Another challenge was now in place: But how to convey an oeuvre that is not visible, since it is carried out within the unlimited temporality of the effects of the relationship that each person establishes with the objects that compose it and with the context established by its device?
In this way a greater micrlpolitica of focus mcropolitica gained for an effective resistance on the macropolitical plane as well. The figures of subject and object only exist for the first capacity, which indeed supposes their existence, and maintains them in a relation of exteriority to each other; whereas for the second, the other is a plastic multiplicity of forces that pulses in our sensible texture, thus becoming part of our very selves in a kind of fusion.
But the syndrome of forgetfulness tends to encompass much more than just these wounds; the affective circuit is not a fixed map but a continuously made and remade cartography upon which individual points can be associated with any other at any moment.
Sulina, ; 3th ed.