Chaosmosis: An Ethicoaesthetic Paradigm by Felix Guattari, Paul Bains, Julian Pefanis

By Felix Guattari, Paul Bains, Julian Pefanis

The ultimate paintings via the writer prior to his demise in 1992, Chaosmosis is a thorough and hard paintings concerned about the reinvention and resingularization of subjectivity. It makes an attempt to embrace affective swap, the short-circuiting of signification and the proliferation of experience essential to interact with non-discursive, creative, poetic and pathic intensities. It contains severe reflections on Lacanian psychoanalysis, structuralism, info conception, postmodernism, and the concept of Heidegger, Bakhtin, Barthes, and others.

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Extra resources for Chaosmosis: An Ethicoaesthetic Paradigm

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As Freud observed, Fort-Da is found in other behaviours; it can be expressed in relation to the effective absence of the mother or in a child's game with its own image in the mirror that it makes appear and disappear. It is, in fact, a matter of a rich, multivalent, heterogenetic machine that can neither be legitimately fixed to a maternal-oral stasis, nor to a language stasis, although they incontestably participate in it. It is all these things at the same time and many others besides! We have to choose here between a mechanical conception of deathly repetition and a machinic conception of processual opening.

Surely here we are far from the child's proba- 76 Chaosmosis bly happy Fort-Da refrain. The Unconscious of the dualist hypothesis of drives of life and death, like that of the transcendence of the Signifier - the murderer of the "things" of context - petrify chaosmic abolition, by making it lose its immanence; they transform it into deathly negativity, into a cadaverous object. " Isn't the task of analysis precisely to recharge Expression with semiotic heterogeneity and to run counter to the disenchantment, demystification and depoetisation of the contemporary world denounced by Max Weber?

Territory can close in on itself, become the site of stereotyped attitudes and behaviour, where everyone mechanically carries out their little refrain. But it can also come to life, trigger an existential agglomeration, a drive machine - and not simply of an oral kind, which will have an influence on the people who participate in its activities or just passing through. The kitchen then becomes a little opera scene: in it people talk, dance and play with all kinds of instruments, with water and fire, dough and dustbins, relations of prestige and submission.

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