Guattari, on the production of subjectivity

In our last session, Gabriele suggested that a key problem before us is the production of subjectivity.  Indeed yes!  (And here’s why I propose a study of Daoism to provide a parallax refreshingly distinct from Western subjectivity under the flag of “Self”.)

Guattari began and ended his Chaosmosis: An Ethico-aesthetic Paradigm with this challenge to think, and act in many ways, on the production of subjectivity:

[1]
My professional activities in the field of psychotherapy, like my political and cultural engagements, have led me increasingly to put the emphasis on subjectivity as the product of individuals, groups and institutions.
Considering subjectivity from thepoint of view of its production does not imply any return to traditional systems of binary determination— material infrastructure / ideological superstructure. The various semiotic registers that combine to engender subjectivity do not maintain obligatory hierarchical relations fixed for all time.  Sometimes, for example, economic semiotisation becomes dependent on collective psychological factors — look at the sensitivity of the stock exchange to fluctuations of opinion.  Subjectivity is in fact plural and polyphonic — to use Mikhail Bakhtin' s expression. It recognises no dominant or determinant instance guiding all other forms according to a univocal causality.
At least three types of problem prompt us to enlarge the definition of subjectivity beyond the classical opposition between individual subject and society, and in so doing, revise the models of the unconscious currently in circulation: the irruption of
[2]
subjective factors at the forefront of current events, the massive development of machinic productions of subjectivity and, finally, the recent prominence of ethological and ecological perspectives on human subjectivity.
Subjective factors have always held an important place in
the course of history.  But it seems that with the global diffusion of the mass media they are beginning to play a dominant role. We will only give a few brief examples here.  The immense movement unleashed by the Chinese students at Tiananmen Square obviously had as its goal the slogans of political democratisation. But it is equally certain that the contagious affective charges it bore far surpassed simple ideological demands. A whole lifestyle, collective ethic and conception of social relations (derived largely from Western images) were set into motion. And in the long run tanks won't be able to stop it! As in Hungary or Poland, collective existential mutation will have the last word! All the same, large movements of subjectivation don't necessarily develop in the direction of emancipation.  The massive subjective revolution which has been developing among the Iranian people f or more than ten years is focused on religious archaisms and generally conservative social attitudes - particularly with regard to the position of women (this is a sensitive issue in France, because of the events in the Maghreb and the repercussions of these repressive attitudes to women in the area of immigration).
In the Eastern bloc, the fall of the Iron Curtain didn't happen as the result of armed insurrection but through the crystallisation of an immense collective desire annihilating the mental substrate of the post-Stalin totalitarian system. This is a phenomenon of extreme complexity, since it intermingles emancipatory aspirations with retrogressive, conservative even fascist drives of a nationalistic, ethnic and religious nature.  In this upheaval, how will the populations of central
[3]
Europe and the Easternbloc overcome the bitter deception the capitalist West has reserved for them until now? History will tell us — admittedly a Historyfull of unpleasant surprises but, why not — about a subsequent renewal of social struggles! By contrast, how murderous the Gulf War will have been! One could almost speak of genocide, since this war led to the extermination of many more Iraqis (counting all ethnic groups) than there were victims of the bombs dropped at Hiroshima and Nagasaki in 1945. With the passage of time it seems clear that what was at stake was an attempt to bring the Arab populations to heel and reclaim world opinion: it had to be demonstrated that the Yankee way of subjectivation could be imposed by the combined power of the media and arms.
[135]
Among the fogs and miasmas which obscure our fin de millénaire, the question of subjectivity is now returning as a leit-motiv. It is not a natural given any more than air or water. How do we produce it, capture it, enrich it, and permanently reinvent it in a way that renders it compatible with Universes of mutant value?  How do we work for its liberation, that is, for its resingularisation?  Psychoanalysis, institutional analysis, film, literature, poetry, innovative pedagogies, town planning and architecture — all the disciplines will have to combine their creativity to ward off the ordeals of barbarism, the mental implosion and chaosmic spasms looming on the horizon, and transform them into riches and unforeseen pleasures, the promises of which, for all that, are all too tangible.


Slides and video for Research-creation, and the Atelier-Lab as a Transversal Machine

Dear PSF Folks,

Attached is the set of slides from the presentation from yesterday: Research-creation, and the Atelier-Lab as a Transversal Machine.

And here's a private link to the video 

Next Thursday April 30, 14:30 EST: Damian Arteca will share his work.

And the week after: May 7, we look forward to Erik Bordeleau’s comments.  (See next email and for Erik's note.)

Xin Wei

Research-creation, and The Atelier-Lab as a Transversal Machine

Hi Everyone,

To follow on Sophie’s post, let me add: 
a letter: “What is research in contemporary art?” , 
a note about what’s at stake for research-creation at the Synthesis Center, 
and a revised introduction to the TML article "The Atelier-Lab as a Transversal Machine”.

Looking forward to discussing these experiences and ideas for the future, 2:30 - 4:00 EST today. (Zoom links at end of this email.)

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Synthesis @ ASU  Whats at stake?


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Synthesis @ ASU  Whats at stake?

The Topological Media Lab was built to create poetic-computational techne : gestural media and responsive environments  that are quite alien to what most computer scientists and engineers, and media theorists and artists for that matter mean by computation or media. 

One of Synthesis’ major research streams is to explore as deeply as possible what we can do poetically and philosophically with gestural temporal textures, non-anthropocentrically.

Art all the way down:  We do not eschew techne.  Indeed we create our own tactics, techniques, code, instruments and platforms, attentive to criteria and concerns very different than market-based art, technoscience or carbon capitalism.  But rather than rest content with DIY techne, we go deep into coding and speculative engineering below the conventional boundary between art and “mere” technology, detourning the conceptual frames that scaffold store-bought kits and ready-made forms of art and design.

Radical criticality: we do not accept the terms handed to us by carbon capitalist commodity technology.  Thus, a lot of the critiques such as identity politics, media theory, and digital humanities, are problematic because they are not adequate to the technicity in play (Simondon).  And commentary and representation, however clever, do not suffice as critical engagement, at least for Synthesis.

Co-articulation: no “ontological” distinction between creator and spectator, indeed between subject and object, director and engineer, means that the actants and intentions in a situation do not pre-exist the event.

Non-anthropomorphic: While we always work from our lived human condition, we do not think and act as if we humans are the only or the most important beings in the world.

Enchantment of the everyday: Rather than make work for the frame of art, we insert interventions into everyday built environment that create conditions under which ordinary can assume significance or even symbolic charge.

Topological media: Palpable continuous fields that vary continuously in response to continuous transformation.

Responsive media: Fields of light, sound, gesture, moving matter that vary continuously to arbitrary activity, admitting gestural or calligraphic nuance, and un-preschematized play.

SC wants to host research projects that help build the constantly evolving delta of research streams: enduring questions, propositions, inquiries that we’re pursuing with all our forces and friends.  Here are some: http://synthesiscenter.net/research/
e.g.
• Multi-scale rhythmanalytic approach to experience
• Using gestural (responsive) media to explore temporal texture
• Ontogenesis and the emergence of sense
• Experiential simulations: how can becoming weather or ocean
be a mode of non-anthropocentric and non-anthropomorphic 
but embodied and enactive experience?
• Vegetal life: non-anthropocentric approach to ethico-aesthetic individuation

I also attach a snapshot of what’s currently in play (Synthesis Brief slides). There are infinitely many ways to explore these enduring questions or propositions.  Can we explore any of them not as soloists in ego-based art, but jointly?

What I’d like to explore with you about your proposed project(s) is not the what, but the why — what’s at stake?

Let’s talk and see if we can develop some common interests first…

By the way, in addition to the projects related to the streams, we have a new crop of small PhD projects co-sponsored that may be getting ready for hosting at SC, including:


***


The Atelier-Lab as a Transversal Machine
Revue française d'études américaines (2012)
Introduction (Revised April 2020):

Two decades ago, Felix Guattari pointed to the heterogeneous machines around us: material, semiotic/diagrammatic/algorithmic, corporeal, mental/representational/informatic, libidinal/ affective. Guattari’s Chaosmosis asked how we could construct machines that act transversally across those machines. From 2001 to 2013, the Topological Media Lab (TML) worked as a university-based atelier-laboratory transversal to computer science, performing arts, architecture and the built environment, to generate insights and techniques in the domain of new media and responsive environments. The TML was an academic research center for gestural, performative, and embodied expression in responsive media environments.

The TML’s theoretical project concerned ontogenesis in performative event — how subjects and objects take shape in a continuous dynamical ontology.  Its critical inquiry started from the limits of discrete representation, and seeks alternatives to linguistic-semiotic analysis in the form of non-metric topological, dynamical, potential-theoretic and other material patterning. An important aspiration was to discover non-anthropocentric ways to articulate improvisatory ethico-aesthetic gesture.

Improvisation does not mean something willful or random. It is conditioned by past aspiration and heuristics, but not by a deterministic plan. The atelier was motivated by the question: How can ordinary actions in everyday environments acquire symbolic charge?  What makes some environments enlivening and others deadening?

Reflexively, we ask: To what extent can we instantiate labs or ateliers for the creation of apparatuses for ethico-aesthetic improvisation? This contribution describes institutional, socio-technical, political, economic issues around running such an atelier-laboratory as an alternative social economy complementary to post-industrial, “knowledge-based” economies.


On Apr 22, 2020, at 8:15 PM, Sophie Strassmann <sophie.strassmann@mail.mcgill.ca> wrote:

Dear PSF Community,

Xin Wei has prepared an agenda of conversation tomorrow, Thursday @2:30 PM - 4 PM (EST). Please read the introduction Xin Wei kindly composed below so that we can hit the ground running! Here is the link to the original article, that we strongly suggest taking a look at.

Zoom/Meeting Access:
Use this link with the following password; 20202021. If that link doesn't work, use this one (shouldn't have a password).

Hope to see you there!
Sophie