virtualdeleuze

Reading 들뢰즈

[virtualdeleuzeus]

"To break with empiricism, the event must be thought as the advent of what is subtracted from all experience: the ontologically un-founded and the transcendentally discontinuous. To break with dogmatism, the event must be released from every tie to the One. It must be subtracted from Life in order to be released to the stars. The original French text is "L'événement selon Deleuze" in Alain Badiou, Logiques des mondes (Paris: Seuil, 2006). "

[deleuzeinterestgroup-blog]

It has neither beginning nor end, but always a middle (milieu) from which it grows and which it overspills. It constitutes linear multiplicities with n dimensions having neither subject nor object, which can be laid out on a plane of consistency, and from which the One is always substracted (n – 1).

On the rhizome: Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (via deleuzeinterestgroup)

[deleuzeinterestgroup-blog]

"The desert is populous. Thus the body without organs is opposed less to organs as such than to the organization of the organs insofar as it composes an organism. The body without organs is not a dead body but a living body all the more alive and teeming once it has blown apart the organism and its organization. Lice hopping on the beach. Skin colonies. The full body without organs is a body populated by multiplicities."

-Gilles Deleuze and Félix Guattari Capitalism and Schizophrenia (via deleuzeinterestgroup)

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Quantum mechanics is a realm of weirdness: electrons being linked to each other even though the vastness of the universe might separate them, things being in two places at once, and, of course, knowledge precluding knowledge. This last is the standard bearer of quantum oddity: measuring the momentum of an object precludes precise knowledge of where that object is. But I think I have found something that is stranger than them all.

Researchers have suggested that it might be possible to make measurements that trick a photon into thinking it is, in fact, a crowd of photons.

Read the comments on this post

#126;3/bzzQzEo7e7Y/another-example-of-the-weirdness-of-quantum-mechanics.ars

[virtualdeleuzeus]

[razorshapes]

[therockandtheroll]

Found Functions

“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart

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[virtualdeleuzeus]

Perhaps, the ontological difference between the Virtual and the Actual is best captured by the shift in the way quantum physics conceives of the relationship between particles and their interactions: in an initial moment, it appears as if first (ontologically, at least) there are particles interacting in the mode of waves, oscillations, etc.; then, in a second moment, we are forced to enact a radical shift of perspective - the primordial ontological fact are the waves themselves (trajectories, oscillations), and particles are nothing but the nodal points in which different waves intersect. [1] This brings us to the constitutive ambiguity of the relationship between actual and virtual: (1) the human eye REDUCES the perception of light; it actualizes light in a certain way (perceiving certain colors, etc.), a rose in a different way, a bat in a different way... The flow of light "in itself" is nothing actual, but, rather, the pure virtuality of infinite possibilities actualized in a multitude of ways; (2) on the other hand, the human eye EXPANDS perception - it inscribes what it "really sees" into the intricate network of memories and anticipations (like Proust with the taste of madeleine), it can develop new perceptions, etc. [2] The genius of Deleuze resides in his notion of "transcendental empiricism": in contrast to the standard notion of the transcendental as the formal conceptual network which structures the rich flow of empirical data, the Deleuzian "transcendental" is infinitely RICHER than reality - it is the infinite potential field of virtualities out of which reality is actualized. The term "transcendental" is here used in the strict philosophical sense of the a priori conditions of possibility of our experience of constituted reality. The paradoxical coupling of opposites (transcendental + empirical) points towards a field of experience beyond (or, rather, beneath) the experience of constituted/perceived reality. We remain here within the field of consciousness - Deleuze defines the field of transcendental empiricism as "a pure a-subjective current of consciousness, an impersonal prereflexive consciousness, a qualitative duration of consciousness without self." [3] No wonder that (one of) his reference(s) here is the late Fichte, who tried to think the absolute process of self-positing as a flow of Life beyond the opposites of subject and object:

A life is the immanence of immanence, absolute immanence: it is sheer power, utter beatitude. Insofar as he overcomes the aporias of the subject and the object Fichte, in his later philosophy, presents the transcendental field as a life which does not depend on a Being and is not subjected to an Act: an absolute immediate consciousness whose very activity no longer refers back to a being but ceaselessly posits itself in a life. [4]

Perhaps Jackson Pollock is the ultimate "Deleuzian painter": does his action-painting not directly render this flow of pure becoming, the impersonal-unconscious life-energy, the encompassing field of virtuality out of which determinate paintings can actualize themselves, this field of pure intensities with no meaning to be unearthed by interpretation?

[virtualdeleuzeus]

SIGGRAPH 2014 and Leonardo/ISAST present their sixth joint publication of SIGGRAPH Art Papers. Art Papers illuminate and explore the changing roles of artists and the methods of art-making in our increasingly networked and computationally mediated world. They inform artistic disciplines, set standards, and stimulate future trends.

In addition to the core topics of digital and interactive arts, Art Papers can explore the theme of the SIGGRAPH 2014 juried Art Gallery (Acting in Translation) or any other topic consistent with SIGGRAPH's hybrid culture.  We especially invite and encourage papers that address the SIGGRAPH 2014 conference focus on mobile media art and culture.

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This Exquisite Forest

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"If you can't slap him, snap him," is the tag line for the website HollaBackNYC (http://www.hollabacknyc.com)"

Rethinking Cyberfeminism(s): Race, Gender, and Embodiment

Jessie Daniels

"While some cyberfeminists contend that the Internet shifts gender and racial regimes of power through the human/machine hybridity of cyborgs (Haraway 1985), identity tourism (Nakamura 2002; Turkle 1997), and the escape from embodiment (Hansen 2006; Nouraie-Simone 2005b), I argue that the lived experience and actual Internet practices of girls and self-identified women reveals ways that they use the Internet to transform their material, corporeal lives in a number of complex ways that both resist and reinforce hierarchies of gender and race."

" Saskia Sassen's work addresses the embeddedness of the digital in the physical, material world, and she catalogs the ways that digital technologies "enable women to engage in new forms of contestation and in proactive endeavors in multiple different realms, from political to economic" (2002, 368). In contrast, Lori Kendall (1996, 1998, 2000, 2002), in her richly nuanced ethnography of the gendered dynamics in the multiuser domain (MUD) BlueSky, argues that digital technologies reproduce rather than subvert white, heterosexual, masculine cultures and hierarchies of power. In a 1997 article "Changing the Subject," Jodi O'Brien writes eloquently about the strict policing of gender identity online and the limitations of identity tourism. And Victoria Pitts's (2004) research about women's use of the Internet on breast cancer forums offers an important corrective to the discourse about disembodiment popular in cyberfeminist writing."

"Cyberfeminist practices involve experimentation and engagement with various Internet technologies by self-identified women across several domains, including work (Scott-Dixon 2004; Shih 2006), education (Clegg 2001), domestic life (Na 2001; Ribak 2001; Singh 2003), civic engagement (Harcourt 2000), feminist political organizing (Everett 2007; Sutton and Pollock 2000), art (Fernandez, Wilding, and Wright 2003), and play (Bury 2005; Cassell and Jenkins 2000; Flanagan 2002; Kendall 1996). While there is no consistent feminist political project associated with cyberfeminist practices, within a culture in which Internet technology is so pervasively coded as "masculine" (Adam 2004; Kendall 2000), there is something at least potentially transgressive in such practices (Fernandez, Wilding, and Wright 2003)."

What is Hollaback?

The real motive of street harassment is intimidation. To make its target scared or uncomfortable, and to make the harasser feel powerful. But what if there was a simple way to take that power away by exposing it? You can now use your smartphone to do just that by documenting, mapping, and sharing incidents of street harassment. Join an entire community ready to Hollaback!

- See more at: http://www.ihollaback.org/about/#sthash.F54oysQk.dpuf

[virtualdeleuzeus]

1. What is OBN? OBN stands for Old Boys Network. OBN is regarded as the first international Cyberfeminist alliance and was founded in 1997 in Berlin. Since the early days the network keeps changing due to changing members. OBN is a real and a virtual coalition of Cyberfeminists. Under the umbrella of the term 'Cyberfeminism', OBN contributes to the critical discourse on new media, especially focussing on its gender-specific aspects. 2. What is an Old Boys Network? Normally, the term ‚Old Boys Network‘ is used as an idiom, a metaphor to describe an informal interrelation of men [here to be understood as synonyme for human beings of male sex]. In this case, the Old Boys of one Network all went to the same elite school/college/university. The concern of an Old Boys Network is to support and obtain support for individual careers. Older boys in a powerful position help younger ones and stabilize their own position that way. They exchange information, and every single Old Boy profits from the success of another Old Boy. It should be noted that dictionaries, particularly those which went into print before 1997, might not contain some important new meanings regarding the term. Nowadays, ‚Old Boys Network‘ may also be in use for: a cyberfeminist network, a brand for cyberfeminist activities, a dangerous cyberfeminist virus... [to be continued]. 3. Who is OBN? The founders are Susanne Ackers, Cornelia Sollfrank, Ellen Nonnenmacher, Vali Djordjevic, Julianne Pierce. Since OBN has come into being in 1997, the contributing Old Boys as well as OBN‘s organisational structure have been in constant flow. At the moment there are several project groups with distinct sets of people (i.e. for the book ‚next protocols‘, for the conference ‚very cyberfeminist international‘, for the relaunch of the website). If you take a look at the PEOPLE section you get an idea of who the network is. 4. What does OBN do? OBN is dedicated to Cyberfeminism. OBN’s concern is to build spaces in which Cyberfeminists can research, experiment, communicate and act. These spaces are for example: a Cyberfeminist Server, the <oldboys> mailing list and real-life meetings (the so-called Cyberfeminist Internationals). All these activities have the purpose to give a contextualized presence to different artistic, theoretical and political formulations/expressions under the umbrella of Cyberfeminism. At times mysterious, at times very visible, OBN is setting an agenda for communication, intervention and production. 5. What is Cyberfeminism? The First Cyberfeminist International agreed on not to define the term. The strategy of keeping the term as open as possible was consensual. As a substitute for a definition The First Cyberfeminist International formulated the "100 Anti-Theses": www.obn.org/reading_room/manifestos/html/anti.html 6. What is the regulating structure of OBN? The Mode is the Message — the Code is the Collective! 6.1. Every member of the OLD BOYS NETWORK is required to call herself a woman (without consideration of the biological base of this intelligent life-form). 6.2. The functions of organisation, execution and responsibility of and for the work are shared - there is no chief. 6.3. Project groups with distinct sets of people can be set by the initiative of at least three OBN members. The projects have to be introduced and discussed on the <oldboys> mailing list. The groups have to report back to the list. 6.4. Every member has agreed to find a personal position in response to the question: What is 'Cyberfeminism', based on her scientific or artistic work. Each will have agreed to share and support the efforts which will contribute to the potential of this term on an international level. With regard to its contents - the elaborations of 'cyberfeminisms' - our aim is the principle of disagreement! 7. How can I become a member? Cyberfeminism is not about membership, but about activity. As soon as you have developed your personal approach to Cyberfeminism, you are a Cyberfeminist. And as soon as you actively contribute to the OBN context, you become an Old Boy. 8. Who can subscribe to the <oldboys> mailing list? Everybody who is seriously interested in the Cyberfeminist discourse, and calls herself ‚woman‘.

[virtualdeleuzeus]

This first book in the Annotating Art's Histories series revisits the period in which modernist attitudes took shape, examining the ways in which a shared history of art and ideas was experienced in different nations and cultures. Original essays by leading art historians and curators trace the dynamic interplay of cultures across the story of modern art, looking at moments of crisis and innovation in modernism's cross-cultural past. An account of colonialism and nationalism in Indian art from the 1890s to the 1920s, for example, suggests that cultural identities are constantly modifying one another in the very moment of their encounter and points to primitivism as a counter-discourse to modernism. A collision between modernism and colonialism in the design of a Bauhaus model housing project reveals the volatile conditions of European modernism in the 1930s. Discussions of the abstract painting of Norman Lewis and the collages of Romare Bearden illustrate the conflicted experiences and multiple affiliations of African American artists in the New York art world of the 1940s and 1950s. The first English translation of an influential essay in the Brazilian neoconcrete movement of the 1950s takes up concerns similar to those of North American minimalism in the 1960s. These and the other journeys into modernism's past described in Cosmopolitan Modernisms return to our contemporary moment with questions about modern art and modernity that we are only beginning to ask.

Copublished with inIVA/Institute of International Visual Arts, London.

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René Magritte: Not to be Reproduced (1937); Museum Boijmans van Beuningen, Rotterdam

book: Les aventures d'Arthur Gordon Pym

[virtualdeleuzeus]

Cell Track: Mapping the Appropriation of Life Materials

An installation and web site examining the privatization and patenting of human, animal, and plant genomes within the context of a history of eugenics. Cell Track draws attention to the increasing separation between the bodies that produce stem cells and genetic material, and the medical and pharmaceutical “products” derived from them. Maternal body cells and tissues like eggs, placentas, fetuses, and umbilical cord blood have become valuable “raw materials” mined for stem cell technologies. This development has opened the way for corporate science to profit from the manipulation and control of life—by patenting and licensing DNA sequences, engineered genes, stem cell lines, transgenic organisms, and the like. Cell Track raises the possibility of a activist, feminist-inspired embryonic stem cell research and resource lab, available to amateurs, artists, independent scientists, and non-profit researchers conducting experimental and contestational public health research and shared knowledge production.*

1. Bio-Difference: The Political Ecology, Biennale of Electronic Arts Perth, Lawrence Wilson Art Gallery, Univ. of Western Australia, Sept. 12–Oct. 3, 2004 2. YOUGenics3, curated by Ryan Griffis, Betty Rymer Gallery, Art Institute of Chicago, Dec. 4–Feb. 5, 2004 3. Deliciously Disposable Earth, curated by Carolina Loyola-Garcia, Three Rivers Arts Festival Gallery, Pittsburgh, PA, Jan. 17–Feb 22, 2008 (catalog) 4. Soft Power. Art and Technologies in the Biopolitical Age, curated by Maria Ptqk. Amarika Project at Vitoria-Gasteiz, Spain. Fall, 2009

[virtualdeleuzeus]

What is subRosa?

subRosa is a mutable (cyber)feminist art collective combining art, social activism and politics to explore and critique the intersections of information and bio technologies on women’s bodies, lives and work. Since its founding in 1998, subRosa has developed situated, trans-disciplinary, performative, and discursive practices that create open-ended environments where participants engage with objects, texts, digital technologies, and critical learning experiences interacting with each other and the artists. subRosa has performed, exhibited, lectured and published in the USA, Spain, Britain, Holland, Germany, Croatia, Macedonia, Mexico, Canada, Slovenia, and Singapore, and has received many commissions for its work as well as funding from the Creative Capital Foundation, Pennsylvania Council on the Arts, and the STUDIO for Creative Inquiry at Carnegie Mellon. Many of subRosa’s publications can be downloaded freely at http://home.refugia.net. A DVD with short documentary videos of signal performances from 2000–2005 is also available. Please contact us for more information.

see also: http://faithwilding.refugia.net/

[virtualdeleuzeus]

7th International Deleuze Studies Conference

Models, Machines and Memories Istanbul, July, 14-16th 2014

Conference Chair and Camp/Summer School Coordinator Dr. Emine Görgül

Hosted by Istanbul Technical University, School of Architecture, Department of Interior Architecture.

Models, Machines and Memories: 7th International Deleuze Studies Conference in Istanbul 2014 explores the themes related to the works of Deleuze and Deleuze and Guattari, and brings together scholars from a wide variety of disciplines and geographies. Exploring the relationship between the philosophy, space, architecture, arts, socio-political studies and sciences, through enriched views of trans-disciplinary perspectives, Models, Machines and Memories offers an open invitation to all scholars with an interest in the work of Deleuze and Guattari.

2014 Deleuze Studies Conference is hosted by ITU-Istanbul Technical University. It will be held in the beautiful Taşkışla Building of ITU-School of Architecture. One of the great cities of the world, Istanbul is a unique, historically rich and multi-layered city. Its extraordinary urban life, will provide the perfect milieu for the Deleuze Conference and the Deleuze Camp.

The conference will accept papers from across a very broad range of areas including, not limited to, the following:

•Space, Architecture and Urban Planning •Aesthetics and Artistic Practices, •Film Studies, •Digital Realm and New Media, •Literature and Literary Criticism, •Philosophy, Ontology and Metaphysics, •Sociology and Politics, •Gender Studies, •Psychology, •Law Studies, •Pedagogy, •Education, •Science and Technology, •Economics

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mattermedia:

Sylvere Lotringer discusses simulation and the difference between Deleuze and Baudrillard