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New Kindle ePUB or eBook ism, information theory, postmodernism, and the thought of Heidegger, Bakhtin, Barthes, and others. Ebook Pdf Chaosmosis An Ethico Aesthetic Paradigm By Felix Guattari 09 22 contains important information and a detailed explanation. Chaosmosis An Ethico Aesthetic Paradigm * Uploaded By Corín Tellado, an ethico aesthetic paradigm felix guattari translated by paul bains and julian pefanis.


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chaosmosis candan - Download as PDF File .pdf), Text File .txt) or read online. in Jungian Psychology by Jungian Analysts)-Inner City Books ().epub. Read Chaosmosis An Ethico Aesthetic Paradigm * Uploaded By Evan Hunter, an ethico aesthetic paradigm felix guattari translated by paul bains and julian. Alessandro Serra, Milan: Feltrinelli, , pp; , EPUB. (Italian) . ( Portuguese); Chaosmosis: An Ethico-Aesthetic Paradigm, trans.

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Each change is read by a point of overview advance. English Deleuze, Guattari, Qu'est-ce que la philosophie? O que e a filosofia? Bento Prado Jr. Thomas Kauf, Barcelona: Anagrama, , pp. Spanish Was ist Philosophie?

Carlo Arcuri, trans.

Leevi Lehto, Helsinki: Gaudeamus, , pp. Finnish What Is Philosophy? English Hvad er filosofi? Carsten Madsen, forew. Danish Felsefe nedir? Arabic Chto takoe filosofiya? Russian Ce este filosofia? Romanian Kaj je filozofija? Slovenian Co to jest filozofia?

Polish Co je filosofie? Greek He wei zhe xue? Lin Changjie yi, Taibei Shi: Taiwan shang wu yin shu guan gu fen you xian gong si, , pp.

Structuralism’s Afters: Tracing Transdisciplinarity through Guattari and Latour

Chinese Shen mo shi zhe xue? Zhang Zujian, Changsha Shi: Hunan wen yi chu ban she, , pp. Chinese Mahi filosofyah? Avner Lahav, Tel Aviv: Resling, , pp. Caosmose, trans.

Paul Bains and Julian Pefanis

English Caosmosis, trans. Irene Agoff, , Log. Spanish Caosmosi, trans. Massimiliano Guareschi, , Log. Italian The Guattari Reader, ed. Gary Genosko, Oxford: Blackwell, , Log.

English Chaosophy: Texts and Interviews —, ed. English Lignes de fuite. Written Review: Eyries QdC History of Structuralism, 2 vols. Let us now examine an example of the use of the psyche's etho logical and ecological resources in the domain of family psy chotherapy. We are borrowing this example from a movement which, around Mony Elkaim, is attempting to free itself from the grip of systemic theories that circulate in Anglo-Saxon countries and in Italy.

Therapists get involved, take risks and put their own fantasms into operation, creating a paradoxical climate of existential authenticity accompanied by a playful freedom and simulacra.

Family therapy produces sub j ectivity in the most artificial way imaginable. This can be observed during training sessions, when the therapists impro vise psychodramatic scenes.

Here, the scene implies a layering of enunciation: a vision of oneself as concrete embodiment; a subject of enunciation which doubles the subject of the state ment and the distribution of roles; a collective management of the game; an interlocution with observers commenting on the scene; and finally, video which through feedback restores the totality of these superposed levels. This type of performance favours the relinquishment of a "realist" attitude which would apprehend the lived scenes as actually embodied in family structures.

This multi-fa ceted theatrical aspect allows us to grasp the artificial and creative character of the production of subjectivity. It should be emphasised that the video is always within sight of the therapis t s. Even when the camera is switched off, they develop the habit of observing certain semi otic manifestations which would escape normal observation.

The ludic face-to-face encounter with patients and the accep tance of singularities developed in this sort of therapy distin guishes it from the attitude of the traditional psychoanalyst with an averted gaze, and even from classical psychodrama. Whether one considers contemporary history, machinic semi otic productions, the ethology of infancy, or social and mental ecology, we witness the same questioning of subjective individ uation, which certainly survives, but is wrought by collective assemblages of enunciation.

In other conditions, subjectivity is colledive - which does not, howev er, mean that it becomes exclusively social. The term "collec tive" should be understood in the sense of a multiplicity that deploys itself as much beyond the individual, on the side of the socius, as before the person, on the side of preverbal intensities, indicating a logic of affects rather than a logic of delimited sets. The conditions of production sketched out in this redefini tion thus together imply: human inter-subjective instances manifested by language; suggestive and identificatory exam ples from ethology; institutional interactions of different natures; machinic apparatuses for example, those involving computer technology ; incorporeal Universes of reference such as those relative to music and the plastic arts.

This non-human pre-personal part of subjectivity is crucial since it is from this that its heterogenesis can develop. It would be to misjudge Deleuze and Foucault - who emphasised the non-human part of subjectivity - to suspect them of taking anti-humanist posi tions I That' s not the issue.

Subjectivity does not only produce itself through the psychogenetic stages of psy choanalysis or the " mathemes" of the Unconscious, but also in the large-scale social machines of language and the mass media- which cannot be described as human.

A certain bal- 10 Chaosmosis ance still needs to be struck between structuralist discoveries which are certainly not unimportant - and their pragmatic application, so as not to flounder in the social abandon of post,modernism.

Today we can ' t dissociate the theories of the Unconscious fr om the psychoanalytic, psychotherapeutic, institutional and literary practices which make reference to it.

The Unconscious has b e c ome an institution , " Co llective Equipment" understood in a broadest sense. One finds oneself rigged out with an unconscious the moment one dream s , delires, forgets or makes a slip o f the tongue.

Freudian dis coveries - which I prefer to call inventions - have undoubt edly enriched the ways we can approach the psyche. I am cer tainly not speaking pejoratively of invention! In the same way that Christians invented a new form of subjectivation courtly chivalry and romanticism, a new love, a new nature and Bolshevism a new sense of class, the various Freudian sects have secreted new ways of experiencing - or even of produc ing - hysteria, infantile neurosis, psychosis, family contlict, the reading of myths, etc.

The Freudian Unconscious has itself evolved in the course of its history: it has lost the seething richness and disquieting atheism of its origins and, in its struc turalist version , has been recentered on the analysis of the self, its adaptation to society, and its conformity with a signifying order. My perspective involves shifting the human and social sciences from scientific paradigms towards ethico-aesthetic paradigms. It's no longer a question of determining whether the Freudian Unconscious or the Lacanian Unconscious provide scientific On the production of subjectivity 11 answers to the problems of the psyche.

From now on these models, along with the others, will only be considered in terms of the production of subjectivity - inseparable as much from the technical and institutional apparatuses which promote it as from their impact on psychiatry, university teaching or the mass media. In a more general way, one has to admit that every individual and social group conveys its own system of modelising subjectivity; that is, a certain cartography - com posed of cognitive references as well as mythical, ritual and symptomatological references - with which it positions itself in relation to its affects and anguishes, and attempts to manage its inhibitions and drives.

Psychoanalytic treatment confronts us with a multiplicity of cartographies: that of the analyst and analysand, and of the family, the neighbourhood, etc.

It is the interaction of these cartographies that will provide regimes to the different assem blages of subjectivation. None of them, whether fantasmatic, delirious or theoretical, can be said to express an objective knowledge of the psyche. All of them are important insofar as they support a certain context, a certain framework, an exis tential armature of the subjective situation.

Our question here is not simply of a speculative order, but is posed in very practi cal ways: how appropriate are concepts of the Unconcious, ' ffered to us on the psychoanalytic "market, " to actual condi tions of the production of subjectivity?

Should they be trans formed, should new ones be invented? This question of modeli sation more exactly of psychological metamodelisation leads to an evaluation of the usefulness of these cartographic instru ments - these concepts from psychoanalysis, systems theory, etc.

Do we use them as a grid for an exclusive universal read ing, with scientific claims, or as partial instruments, in combi nation with others, the ultimate criterion being of a functional order? What processes unfold in a consciousness affected by the 12 Chaosmosis shock of the unexpected? How can a mode of thought, a capaci ty to apprehend, be modified when the surrounding world itself is in the throes of change?

How are the representations of an exterior world changed when it is itself in the process of chang ing? The Freudian Unconscious is inseparable from a society attached to its past, to its phallocratic traditions and subjective invariants.

Contemporary upheavals undoubtedly call for a modelisation turned more towards the future and the emer gence of new social and aesthetic practices. The devaluation of the meaning of life provokes the fragmentation of the s elf image: its representations become confused and contradictory.

Faced with these upheavals the best attitude would be to envis age the work of cartography and psychological modelisation in a dialectical relation with the individuals and groups con cerned; the crucial thing is to move in the direction of co-man agement in the production of subjectivity, to distrust sugges tion and the attitudes of authority which occupy such a large place in psychoanalysis, in spite of the fact that it claims to have escaped them.

A long time ago I renounced the Conscious-Unconscious dualism of the Freudian topoi and all the Manichean opposi tions correlative to Oedipal triangulation and to the castration complex. I opted for an Unconscious superposing multiple stra ta of subjectivation, heterogeneous strata of variable extension ;and consistency. Thus a more "schizo" Unconscious, one liber r;t:han towards fixations on, and regressions to, the past.

I don't, however, con ider my " schizoanalytic cartographies"4 to be scientific theo hes. Just as an artist borrows from his precursors and contem poraries the traits which suit him, I invite those who read me to take or reject my concepts freely.

The important thing is not the On the production of s ubjectivity 13 final result but the fact that the multicomponential cartograph ic method can co-exist with the process of subjectivation, and that a reappropriation, an autopoiesis, of the means of produc tion of subjectivity can be made possible. Of course, I am not equating either psychosis to the work of art or the psychoanalyst to the artist! I am only emphasising that the existential registers concerned here involve a dimen sion of autonomy of an aesthetic order.

We are faced with an important ethical choice: eithe we objectify, reify, "scientifise" subjectivity, or, on the contrary, we try to grasp it in the dimen sion of its processual creativity. Kant established that the j udgement of taste involved subjectivity and its relation to the other in a certain attitude of "disinterestedness. How do certain semiotic segments achieve their autono my, start to work for themselves and to secrete new fields of ref erence?

It is from such a rupture that an existential singularisa tion correlative to the genesis of new coefficients of freedom will become possible. This detachment of an ethico-aesthetic "par tial obj ect" from the field of dominant significations corre sponds both to the promotion of a mutant desire and to the achievement of a certain disinterestedness. Here I would like to establish a bridge between the concept of a partial object object " a " as theorised by Lacan that marks the autonomisation of the components of unconscious subjectivity, and the subjective autonomisation relative to the aesthetic object.

At this point we rediscover a problematic highlighted by Mikha'il Bakhtin in his first theoretical essay6 of 1 9 the function of enunciative appropriation of aesthetic form by the autonomisation of cogni tive or ethical content and the realisation of this content in an aesthetic object - what I wil1 call a partial enunciator.

I am 14 Chaos mos is attempting to draw the psychoanalytic partial object that is adj acent to the body - the point of coupling of the drive towards a partial enunciation.

The expansion of the notion of partial object, to which Lacan contributed with the inclusion of the gaze and the voice in the object " a " , needs to be followed up.

This entails expanding the category to cover the full range of nuclei of subjective autonomisation relative to group sub j ects, a n d to instances of the production of subj ectivity machinic, ecological, archictectural, religious, etc.

According to Bakhtin, in. The content of the work of art detaches itself from its connotations that are as much cognitive as aesthetic: " isolation or detachment relates not to the material, not to the work as thing, but to its significance, to its content, which is freed from certain neces sary connections with the unity of nature and the unity of the ethical event of being. In music, for example, as Bakhtin emphasises, isolation and invention can not be axiologically related to the material: "It is not the sound of acoustics that is isolated, and not the mathematical number of the compositional order that is made up.

What is detached and fictively irreversible is the event of striving, the axiological tension, which actualises itself thanks to that without any impediment, and becomes consummated. And it is this last aspect, declares Bakhtin, that encompasses all the others.

Equally, we find with Bakhtin the idea of irreversibility of the aesthetic object and implicitly the idea of autopoiesis - notions truly necessary to the analysis of Unconscious formations, pedagogy, psychiatry, and more generally to a social field devastated by capitalist sub jectivity. Thus it is not only in the context of music and poetry that we see the work of such fragments detached from content, fr agmen t s which I p l ace in t h e cate gory of " existential refrains.

The simplest examples of refrains delimiting existential Territories can be found in the ethology of numerous bird species. Certain specific song sequences serve to seduce a sexual partner, warn off intruders, or announce the arrival of preda tors. In archaic societies, it is through rhythms, chants, dances, masks, marks on the body, ground and totems, on ritu al occasions and with mythical references, that other kinds of collective existential Territories are circumscribed.

But we all familiar with such crossings of subjective thresholds triggered by a catalysing tem poral module that plunges us into sadness or indeed, into an ambience of gaiety and excitement.

What we are aiming at with this concept of refrain aren' t j ust massive affects, but hyper-complex refrains, catalysing the emergence of incorpore al Universes such as those of music or mathematics, and crys tallising the most deterritorialised existential Territories.

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This type of transversalist refrain evades strict spatio-temporal delimitation. With it, time ceases to be exterior in order to become an intensive nucleus [foyer] of temporalisation. From this perspective, universal time appears to be no more than a hypothetical projection, a time of generalised equivalence, a "flattened" capitalistic time; what is important are these partial modules of temporalisation1 operating in diverse domains bio logical, ethological, socio-cultural, machinic, cosmic.

When I watch televi sion, I exist at the intersection: 1. It's a question of the refrain that fixes me in front directions. How can I maintain a relative sense of unicity, On the production of subjectivity 17 of the screen, henceforth constituted as a projective existential node.

My identity has become that of the speaker, the person who speaks from the television. Like Bakhtin, I would say that the refrain is not based on elements of form, material or ordi nary signification, but on the detachment of an existential "motif" or leitmotiv which installs itself like an "attractor" within a sensible and significational chaos. The different com ponents conserve their heterogeneity, but are nevertheless cap tured by a refrain which c o uples them to the existential Territory of my self.

In the case of neurotic identity, sometimes the refrain develops into a "hardened" representation, for example, an obsessive ritual. If for any reason this machine of s ubj ectivation is threatened, the whole personality may implode; this occurs in psychosis where the partial components move off on delirious, hallucinatory lines.

The paradoxical concept of a complex refrain will enable us, in psychoanalytic t r e a tme n t , to refer an in terpre tive e v e n t , no l o n g e r t o Universals o r mathemes, nor to preestablished structures of s ubj ectivity, b u t rather to wha t I call a constellation of Universes. This does not involve Universes of reference in gen eral, but incorporeal domains of entities we detect at the same time that we produce them, and which appear to have been always there, from the moment we engender them.

Here is the real paradox of these Universes: they are given in the creative moment, like a hecceity freed from discursive time - nuclei of eternity lodged between instants. Take a sim ple example: a patient in the course of treatment remains stuck on a problem, going around in circles, and coming up against a wall.

One day he says, without giving it much thought: "I've been thinking of taking up driving lessons again, I haven't dri- 18 Chaosmosis ven for years " ; or, "I feel like learning word processing.

However, this kind of singularity can become a key, activating a complex refrain, which will not only modify the immediate behaviour of the patient, but open up new fields of virtuality for him: the renewal of contact with long lost acquaintances, revisiting old haunts, regaining self confidence. In this, a rigid neutrality or non-intervention would be negative; it's sometimes necessary to j ump at the opportunity, to approve, to run the risk of being wrong, to give it a go, to say, "yes, perhaps this experience is important.

This is why I have opted for pragmatic interventions orientated towards the construction of subjectitie s , towards the production of fields of virtualities which wouldn't simply be polarised by a symbolic hermeneutic centered on childhood.

In this conception of analysis, time is not something to be endured; it is activated, orientated, the object of qualitative change. Analysis is no longer the transferential interpretation of symptoms as a function of a preexisting, latent content, but the invention of new catalytic nuclei capable of bifurcating existence. A singularity, a rupture of sense, a cut, a fragmenta tion, the detachment of a semiotic content - in a dadaist or surrealist manner - can originate mutant nuclei of subjectiva tion.

Just as chemistry has to purify complex mixtures to extract atomic and homogeneous molecular matter, thus creat ing an infinite scale of chemical entities that have no prior exis tence, the same is true in the "extraction" and "separation" of aesthetic subjectivities or partial objects, in the psychoanalytic sense, that make an immense complexification of subjectivity possible - harmonies, polyphonies, counterpoints, rhythms On the production of subjectivity 19 a n d exi stential orchestratio n s , until n o w unheard and unknown.

An essentially precarious, deterritorialising com plexification, constantly threatened by a reterritorialising sub sidenGe; above all in the contemporary context where the pri macy of information fluxes that are machinically engendered threaten to lead to a generalised dissolution of old existential Territorialities. In the early phases of industrial society the " demonic" still continued to flower, but since then mystery has become a rarer and rarer commodity.

One need only evoke the desperate quest of Witkiewicz to grasp an ultimate "strange ness of being" which literally appeared to slip between his fin gers.

The Literary Function and Society II: Community and Subjectification

In these conditions, the task of the poetic function, in an enlarged sense, is to recompose artificially rarefied, resingu larised Universes of subjectivation.

For them, it's not a matter of transmitting messages, investing images as aids to identifica tion, patterns of behaviour as props for modelisation proce dures, but of catalysing existential operators capable of acquir ing consistence and persistence. This poetic-existential catalysis that we find at work in the midst of scriptural, vocal, musical or plastic discursivities engages quasi-synchronically the enunciative crystallisation of the creator, the interpreter and the admirer of the work of art, like analyst and patient.There is an 30 Cha osmosis agglomeration of heterogeneous factors of subjectiv ation.

I am cer tainly not speaking pejoratively of invention! Deleuze constantly reminds us that our thought always occurs in the middle of things; that is to say, the outside to which thought connects has already begun and exists prior to our consciousness of it.

Irene Agoff, , Log. In s uch conditions it appears opportune to forge a more transversalist conception of subjectivity, one which would permit us to understand both its idiosyncratic territorialised couplings Existential Territories and its opening onto value systems Incorporeal Universes with their social and cultural implications. It's a question of the refrain that fixes me in front directions.

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