Autumnal greetings to all our readers and viewers and a warm welcome back to new and regular users of the Deleuze Studies network. If you would like to join the network, then please send a brief bio and details of your work and/or interest in Deleuze studies, so we can display your details to everyone and produce more Deleuzian connections. Contact our new webmaster for details.
As usual the editorial board invites your submission of recorded papers and of Deleuzian-inflected artworks to showcase on future issues of A/V. Please contact me to discuss your ideas and suggestions for material you would like us to consider.
There have been, and will be, plenty of inspiring Deleuzian events happening, both locally and internationally. Most recently, we’ve been meeting together at the ‘Schizoanalysis of the Moving Image’ symposium at Cardiff University and the Third International Deleuze Studies conference at the University of Amsterdam.
If you are organising an event, please send us details in plenty of time so we can tell as many people about them as soon as possible. Please also forward details of new publications in the field so we can advertise them to our readers. We are currently seeking reviewers to read and respond to monographs and essay collections by Firoza Elavia; Jasper Jansen and Kjetil Rodje; Kenneth Surin; Ian Buchanan and Adrian Parr; Anna Hickey-Moody and Petra Malins; Julia Mahler; Paola Marrati. See the reviews section of the website and contact me if you are interested in submitting an audio-visual review of any of these books.
We are delighted to bring you the latest issue of A/V, number 11. This issue has unfortunately been delayed by the lengthy rebuilding of the faculty host website as part of the university’s ‘change agenda’ for institutional and academic culture. ERI has now become CORE (Centre for Research in English). To comply with this, we rebuilt our own website platform from scratch. Fundamental personnel changes have caused further hold-ups; with Alan Hook, Rachel McConkey and the Touch my Face team relocating/graduating/finding new jobs. We are now delighted to be up and running and out to you again and welcome Helen Darby as our new postgraduate webmaster, whose skill and effort have already built up the site and made new connections in the field. This latest bridging issue relaunches A/V with fine art and moving image contributions from practitioners Mattia Casalegno and Jac Saorsa, a philosophy paper from Henry Somers-Hall and postgraduate contributions from Helen Darby and Charlotte Knox-Williams.
Readers will recall a special postgraduate issue, A/V 9. Growing from that, we have launched a postgraduate publications section in A/V, beginning with this issue. We hope that this will encourage you other postgraduate readers to get your research more widely known in the field by sending your finest to our editorial board for consideration. Please contact me to discuss your proposals prior to review.
Enjoy the pleasures of the season!
Department of English, MMU
How can time be painted, how can time be heard? And elementary forces such as pressure, inertia, weight, attraction, gravitation, germination – how can they be rendered? These are some of the questions I try to engage with in my work:
In my site-specific audiovisual installation “Strutture Dissipative” (Fleishmann Planetarium, Reno, US, 2010) I try to render sensible emergent phenomena such as changing-state transitional phases. I am inspired by the thoughts of the Belgian chemist and researcher Ilya Prigogine who in the ’70 studied the behaviors of complex systems as such as fluids and other thermodynamic systems and noted how from apparently chaotic and unstable systems order and stability can emerge. His seminal work is been not only used in the exact science fields but also extended to social science phenomena and helped the rise of a kind of complexity studies in the ’70s-’80s, leading to the recent speculations about a deep ecology approach and a paradigm where the human uses technology to seek new ways to be in equilibrium with the surrounding environment.
“not to render the visible, but to render visible” – Paul Klee
One of the most influential notions of Deleuzian philosophy which shapes my aesthetic and artistic research is the idea of rendering visible invisible forces: in art, and in painting as in music, it is not a matter of reproducing or inventing forms, but of capturing forces. To paint for Deleuze means “the attempt to render visible forces that are not themselves visible” (Francis Bacon, The Logic of Sensation ). I extend this approach to digital technologies: with the digitalization of visual and sonic languages, and with the rise of the digital meta-language, data, sounds, vectors, shapes and pixels, are the minimal signifiers in the development of new hybridizations between micro and macro, tangible, intangible, natural, artificial. In a time where global warming, pan-toxicity, pesticide pollution, resource scarcity, and a host of environmental problems regularly appear in news headlines, the perennial question about what the relationship between humans and nature is and should be, is more pressing than ever. Our way of knowing and being in the world is the problem. As such, to address kinship imaginaries, is to approach the problem from the understanding that we must first change the way we think about nature and culture if we are to solve this problem.
In this paper, I explore Hegel’s own analysis of the rhizome in the Philosophy of Nature. I show how Hegel’s analysis of the rhizome bears many similarities to that presented by Deleuze, but how ultimately, it is the difference between these accounts which is critical to understanding their relationship. I show how on the surface, Hegel’s analysis tracks Deleuze’s, showing that the rhizome presents a non oppositional structure that is governed by the logic of conjunction. Hegel argues, however, that such a decentred structure is unstable and ultimately collapses, leading dialectically to a centred arborescent structure. I show how Deleuze is well aware of this reading, and how his distinction between the decentred and the poly centred, and his characterisation of the multiplicity as an alternative to the many, allow him to avoid this implication.
Henry Somers-Hall is a senior lecturer in philosophy at Manchester
Metropolitan University, and amongst other things, works on Deleuze’s
relation to the history of philosophy.
As a researcher in the philosophy of art practice, Jac Saorsa’s interest in Deleuze extends rhizomatically across the breadth of his work, but is primarily focused on his aesthetic, which is manifest in the renunciation of the ‘domain’ of representation to embrace the ‘conditions’ of representation as the object of art in its appeal to sensation. In ‘Multiple Viewpoints’, Jac expresses her Deleuzian approach to artistic appropriation.
This new postgraduate section features the video work of Charlotte Knox-Williams, whose films represent an aspect of a wider practice that is understood as an experimental thinking process. Her research project is exemplified here by the film Transactions. Revealing the structures of an archive of the virtual, is neither a trace nor an outline; bur rather it seeks to visualise a record of the materiality of the digital itself.
Helen Darby’s paper on Cronenberg’s Naked Lunch explores the creative potential of re-interpretation as Deleuzian Event.
We hope you will find this special section an exciting outlet to publish your postgraduate work in Deleuze Studies, and warmly invite future proposals from newer scholars and practitioners for our editorial consideration.
These films represent an aspect of a wider practice that is understood as an experimental thinking process. Encompassing both practical and theoretical engagement, the studio practice contributes significantly to my PhD research. The research project aims to develop methodological approaches in fine art based research that hold theory and practice as inextricably connected. The research will develop methodologies that are consistent with an individual fine art practice and a particular reading of specific aspects of Deleuzian theory.
The practice encompasses interlinked stages and processes of working. Procedures of filming, reading, projection, drawing and writing interconnect across screens, mapping shifting intersections between and within them and illuminating potential instances of correlation and discrepancy. Time exists here as a complex web of intersecting durations, a multi branched structure that whilst unfolding in real-time also produces loops, detours and portals.
The studio is a central concern within the practice, as the site for the complex filigree of processes and procedures that make it up. Functioning as projection room, laboratory, archive and exhibition, the spaces of the studio have been constructed, dismantled, reconstructed and re-made. These spaces are extensions or excavations of one another, and make up an incomplete system whose parts are coexistent, linking and feeding backwards and forwards through documentation and memory. The studio is a space of possibility that enfolds darkness and light into one another, opening out onto other times and places.
Helen Darby is interested in how post-human non-subjective singularities can be held to have ethical agency in a purely materialist universe, and in how art and literature might create openings to instantiate such an ethics.