: Micropolitica: Cartografias do desejo. GUATTARI; ROLNIK. Micropolítica cartografias do desejo Uploaded by lubuchala GUATTARI; ROLNIK. Micropolítica cartografias do desejo. Micropolitica: Cartografias Do Desejo. Front Cover. Félix Guattari. Vozes, – pages Bibliographic information. QR code for Micropolitica.
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We have to shift the givens of the problem, as it has recently started to happen. In the context of cultural capitalism, artists share with activists the same foci of tension in reality; but the most striking artistic practices of intervention in public life are not those that end up merging completely with the activist practices to which they have drawn closer — reducing their field of action to macropolitics, running the risk of becoming strictly pedagogical, illustrative and pamphleteering.
Finding out whether or not museums permit this kind of critical conflagration may not be the best way of posing the problem.
The characteristically activist operation, with its macropolitical potential, intervenes in the tensions that arise in visible, stratified reality, between the poles of conflict in the distribution of places established by the dominant cartography within a given social context conflicts of class, race, gender, etc. The exhibition brought in a possible response, by means of resorting to the memory that has constituted its central nerve. These are raised by the fantasmatics inscribed in the memory of the body, resulting from the traumas experienced in past attempts to establish this kind of sensible relation with the world — attempts which have been inhibited by a lack of reverberation in a surrounding milieu inhospitable to this quality of relation with the otherness of the world which can be even worse in dictatorial regimes, where this kind of relation becomes object of humiliation, prohibition or punishment, as in the dictatorship that ruled Brazil in the s and 70s.
This did not necessarily depend on the content of his speech—since, in the beginning, I hardly spoke any French—but on the poetic quality of his presence and particularly his voice.
I had been involved with it in the course of the s and s, when Lygia developed her relational experiments. One of the darkest effects of this narcosis is a separation between speech and the sensible—its corporeal reality, the site of a living relation to the world that nurtures its poetic density. The poetic force is one of the voices in the paradoxical polyphony through which are delineated the heterogeneous and unpredictable becomings of public life.
On one such adventure, her vitality suffers the microopolitica of reactive forces that cause her to leave her country. What he was certainly saying between these words was that, in order to resurrect the mucropolitica to live and the pleasure of thinking, it is always possible to bring desire back after it breaks down.
There are no ready-made formulas to carry out such an evaluation. But what actually happened on that day? Instead the most striking artistic practices of intervention in public life are the ones that assert the characteristic micropoltiica potential of art.
The solution is easy to deduce: It is common to explain those ruptures as works of evil and, in the name of safety and stability, to confine them to the unknown universes that have entered the existential landscape. The forms cartograria critique cartlgrafia Lygia put into action in her proposals over the following two decades would find their resonance only ten years after her death, in the recent extradisciplinary drift undertaken by the new generation.
From the micropolitical point of view, regimes of this guaftari tend to establish themselves in the life of a society when the connections with new universes in the general alchemy of subjectivities multiply beyond a threshold, causing veritable convulsions.
Deleuze, Schizoanalyst
In this way a greater precision of focus is gained for an effective resistance on the macropolitical plane as well. When the boundaries of a certain stability are broken there is a danger that baser subjectivities tied to common sense will infer the risk of fuattari irreversible collapse, and will begin to panic.
This concept designates the capacity of all sense organs to allow themselves to be affected by otherness. Becoming embodied in artistic creations, those changes make them into the bearers of a contagious power at the moment of their reception. In this exodus, other means of artistic production and also other territories of life are created thus the tendency to organize into collectives and to maintain relationships with other such collectives, sometimes gathering around common aims micropolitjca the cultural or political terrain, then returning to autonomy again.
Such blindness, added to the a-critical identification with such images, which occurs among the most diverse strata of the population across the entire planet, is precisely what makes the subjectivities ready for submission to the designs of the market, thus rendering it possible to recruit all their vital forces for the hypermachine of capitalist production.
By launching a liberating movement through a sung cry, Deleuze had, in fact, been my schizonanalyst—even if such movement would only bear fruit years later.
Deleuze, Schizoanalyst – Journal #23 March – e-flux
A succession of generals remained in power untiland the first direct presidential elections were held in From the viewpoint of the unusual territory that the artist constituted with her oeuvre, aesthetics, therapeutic and politics are revealed as potentials of experience, inseparable in their act of interference in subjective and objective reality.
One of the strategies for protecting from this poison consists of anesthetizing the marks of trauma in the affective circuit. This is a strategic decision that should be recognized as such. Such approximation finds reciprocity in the social movements, which, in their turn, are led to incorporate a micropolitical dimension to their activism, traditionally limited to macropolitics. Having identified the extraterritorial drift according to the cartography that Holmes has offered, we can now trace its outlines more precisely.
This abyss could now be problematized, as it was beginning to be surpassed. We should prescribe poetry in the same way as vitamins.
Sloterdijk, Terror from the Air, trans. It is therefore the very logic of her investigation that led her to invent her last artistic proposal, to which a deliberately therapeutic dimension was added.
However, if we want to sense the situations that carry such powers, it becomes necessary to remove the hierarchy of cultural values in the established imaginary cartography and, above all, to tune our hearing to the effects that each encounter mobilizes—these effects should be the privileged criterion for orienting our choices.
Lygia Clark, da obra ao acontecimento: French became like a plaster that both contained and cohered an agonizing affective body: An imperceptible transmission that contaminated whoever listened to him. It is in the face of this deadlock that the artist created Structuring of the Selfthe last gesture of her oeuvre, which unfolded after her definitive return to Rio de Janeiro in It is common to describe technology as a cultural practice, or culture as a fabric of interwoven material, intellectual, and social techniques.
Google is the crown jewel of the American empire, but whereas the American administration manages ideas, Google deals in instruments and communication interfaces.
In any case, here is the unexpected figure of the schizoanalyst Deleuze. The intention of this project was to create the conditions for reactivating the impact of the work, at the very moment of its return to the institutional terrain of art.
As I sing, a similar vibration takes over my own voice; hesitant at first, the timbre slowly builds up and gains body, becoming more and more crystalline. The artist had avidly read the Anti-Oedipusthe first conjoint work by the two authors, at the very moment of its publication inand there she found a curious vesejo with her own investigations.
Foreseeing her death in the image of her face reflected on the blade pointed in her direction, she lets out a piercing cry. Another challenge was now in place: As common sense blurs into the very idea of the nation, to differ is to betray the motherland. In this migration, the artist reinvented a public in the strong sense of subjectivities bearers of an aesthetic experience.
I refer in particular to proposals infiltrate the most micrololitica interstices of the cities, as often in Latin America.
I was cured, not of the cartoografia of pain left by the fury of despotism, as these are indelible, but of their toxic effects. Unlike what the first generation of institutional critique may have thought, there are no regions of reality that are good or evil in themselves, with a supposedly essential identity or morality that would define them once and for all.