Michel Serres, ‘Potential’, pp.33-66, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.
No seated professor taught me productive work, the only kind of any worth, whereas my gymnastics teachers, coaches and, later, my guides inscribed its very conditions into my muscles and bones. They teach what the body can do.
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Sara Ahmed, ‘Conclusion: Disorientation and Queer Objects’, pp.157-179, in:
Ahmed, S., 2006. Queer phenomenology: orientations, objects, others. Duke University Press, Durham.
Moments of disorientation are vital. They are bodily experiences that throw the world up, or throw the body from its ground.
The body might be reoriented if the hand that reaches out finds something to steady an action. Or the hand might reach out and find nothing, and might grasp instead the indeterminacy of air. The body in losing its support might then be lost, undone, thrown.
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R. Joshua Scannell, ‘Both a Cyborg and a Goddess: Deep Managerial Time and Informatic Governance’, pp.247-273, in:
Behar, K. (Ed.), 2016. Object-oriented feminism. University of Minnesota Press, Minneapolis.
[Referencing Jasbir Puar (2012)]
Affective intensities, distributed bodily information, data trails, teletechnology, all commingle in a constantly productive distribution of posthumanist political modulations that are the target of what Gilles Deleuze identified as “the society of control.”
Puar metonymizes these analytics as goddesses and cyborgs. On the one hand, the reified humanist categories of goddess identity and personhood render a political imagination that exotifies both the sub- jects it seeks to represent and the political systems that oppress them. On the other, the teleological technical determinism of the cyborg easily slips into a sort of pseudo-intellectual “disruptive” solipsism. Surely, she claims, there must be cyborg goddesses in our midst.
It is my contention that a figure with the attributes of the cyborg goddess has emerged, but that it is not human.
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Gilles Deleuze, ‘Athleticism’, pp.12-19, in:
Deleuze, G. 2003. Francis Bacon: the logic of sensation. Translated by Daniel W. Smith (London; New York: Continuum
Let us return to Bacon’s three pictorial elements: the large fields as a spatializing material structure; the Figure, the Figures and their fact; and the place – that is, the round area, the ring, or the contour, which is the common limit of the Figure and the field.
The contour, as a “place,” is in fact the place of an exchange in two directions: between the material structure and the Figure, and between the Figure and the field.
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‘A Call to Arms’, pp.173-204, in:
Ahmed, Sara., 2014. Willful subjects. Duke University Press, Durham.
[…] Gramsci (1975) is calling for us to be willing something actively and with intelligence or though, asking us to orientate ourselves toward the future we hope to bring about, to work with others toward an actualisation of a possibility, of concrete initiatives.
Wilfulness tends to imply a articular kind of subject, one that has intentions and knows her intentions.
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“Biopolitics of gesture: cinema and the neurological body”, Pasi Väliaho in:
Gustafsson, H., Grønstad, A. (Eds.), 2014. Cinema and Agamben: ethics, biopolitics and the moving image. Bloomsbury Academic, New York.
[…] the gaze that Charcot cultivated and trained in his clinic was influential in establishing modernity’s epistemological practice: obsessed with moving, doing. breathing, sensuous individual in terms of the complex dynamics of mental and physiological forces meticulously scrutinized in the body’s outward appearance.
Emerging as a new kind of epistemic object in the late nineteenth century (roughly, 1850-1870), this was not just a body composed of organs and tissues but one distinguished as having functions, performances and behavior.
Perhaps the two, the neurological body and the cinematic apparatus, were mutually constitutive.
In cinema, the unity between gesture and intention was rather broken down.
[Citing Wilhelm and Eduard Weber]
“Man binds his movements to certain rules even if he cannot express these rules in words. These rules are based totally on the structure of his body and on the given external conditions.”
So-called normal, healthy men can walk – that is to say, their gait has a style, which is expressive of personality and culture, of values, intentions and beliefs – whereas the diseased body merely produces “steps”. Deprived of style and rhythm, the diseased body is deprived of signification and thus appears as excluded from the realms of history and politics.
In at least one of its dimensions, producing and maintaining this decomposed image of the human is the function of the biopolitics of gesture in cinema.