Rhizome (philosophy) "As a model for culture, the rhizome resists the organizational structure of the root-tree system which charts causality along chronological lines and looks for the original source of 'things' and looks towards the pinnacle or conclusion of those 'things.' A rhizome, on the other hand, is characterized by 'ceaselessly established connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles.' Rather than narrativize history and culture, the rhizome presents history and culture as a map or wide array of attractions and influences with no specific origin or genesis, for a 'rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo.' "In this model, culture spreads like the surface of a body of water, spreading towards available spaces or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. Deleuze, Gilles and Félix Guattari. 1980.
Dictionary of concepts for Graham Harman’s object-oriented philosophy [draft: work in progress] | Avoiding/the\Void Object-Oriented Philosophy: A Graham Harman Dictionary of Concepts [Feel free to comment if you have improvements for any of the definitions or notice any errors. I will continually update, add new words and generally make it more comprehensive as time goes on. This is by no means a definitive list, and beware that Harman's philosophical terminology and descriptions have changed in parts from Tool-Being to Prince of Networks. Some of the definitions are a little short and scrappy, so there's lots to work to do] “Allure is a special and intermittent experience in which the intimate bond between a thing’s unity and its plurality of notes somehow partially disintegrates” (GM, p.143). “Relations between all real objects, including mindless chunks of dirt, occur only be means of some form of allusion. BONDS [incomplete] - PHYSICAL BONDS: “there is the unremitting duel between an object itself as a real unity, as a single thing, and the same object as made up of numerous specific features”.
Jean Baudrillard Jean Baudrillard (/ˌboʊdriːˈɑr/;[1] French: [ʒɑ̃ bodʁijaʁ]; 27 July 1929 – 6 March 2007) was a French sociologist, philosopher, cultural theorist, political commentator, and photographer. His work is frequently associated with postmodernism and specifically post-structuralism. Life[edit] Baudrillard was born in Reims, northeastern France, on 27 July 1929. His grandparents were peasants and his parents were civil servants. While teaching German, Baudrillard began to transfer to sociology, eventually completing his doctoral thesis Le Système des objets (The System of Objects) under the dissertation committee of Henri Lefebvre, Roland Barthes, and Pierre Bourdieu. In 1970, Baudrillard made the first of his many trips to the United States (Aspen, Colorado), and in 1973, the first of several trips to Kyoto, Japan. In 1986 he moved to IRIS (Institut de Recherche et d'Information Socio-Économique) at the Université de Paris-IX Dauphine, where he spent the latter part of his teaching career.
Graham Harman Graham Harman (born May 9, 1968) is a professor at the American University in Cairo, Egypt. He is a contemporary philosopher of metaphysics, who attempts to reverse the linguistic turn of Western philosophy. Harman is associated with Speculative Realism in philosophy, which was the name of a workshop that also included the philosophers Ray Brassier, Iain Hamilton Grant, and Quentin Meillassoux.[2] Biography[edit] Thought[edit] Central to Harman's philosophy is the idea that real objects are inexhaustible: "A police officer eating a banana reduces this fruit to a present-at-hand profile of its elusive depth, as do a monkey eating the same banana, a parasite infecting it, or a gust of wind blowing it from a tree. Harman defines real objects as inaccessible and infinitely withdrawn from all relations and then puzzles over how such objects can be accessed or enter into relations: "by definition, there is no direct access to real objects. Bibliography[edit] See also[edit] References[edit]
Speculative Heresy | exploring speculative realism, non-philosophy, and other heresies Ludwig Wittgenstein Ludwig Josef Johann Wittgenstein (26 April 1889 – 29 April 1951) was an Austrian-British philosopher who worked primarily in logic, the philosophy of mathematics, the philosophy of mind, and the philosophy of language.[4] From 1939–1947, Wittgenstein taught at the University of Cambridge.[5] During his lifetime he published just one slim book, the 75-page Tractatus Logico-Philosophicus (1921), one article, one book review and a children's dictionary.[6] His voluminous manuscripts were edited and published posthumously. Philosophical Investigations appeared as a book in 1953 and by the end of the century it was considered an important modern classic.[7] Philosopher Bertrand Russell described Wittgenstein as "the most perfect example I have ever known of genius as traditionally conceived; passionate, profound, intense, and dominating".[8] Born in Vienna into one of Europe's richest families, he inherited a large fortune from his father in 1913. Background[edit] The Wittgensteins[edit]
Postmodern Theory - Chapter 3: Deleuze and Guatari Chapter 3: Deleuze and Guattari: Schizos, Nomads, Rhizomes We live today in the age of partial objects, bricks that have been shattered to bits, and leftovers... We no longer believe in a primordial totality that once existed, or in a final totality that awaits us at some future date (Deleuze and Guattari 1983: p.42) A theory does not totalize; it is an instrument for multiplication and it also multiplies itself... Gilles Deleuze and Felix Guattari have embarked on postmodern adventures that attempt to create new forms of thought, writing, subjectivity, and politics. Their most influential book to date, Anti-Oedipus (1983; orig. 1972) is a provocative critique of modernity's discourses and institutions which repress desire and proliferate fascists subjectivities that haunt even revolutionary movements. Deleuze is a professor of philosophy who in the 1950s and 1960s gained attention for his studies of Spinoza, Hume, Kant, Nietzsche, Bergson, Proust and others.
nick land Actor–network theory Broadly speaking, ANT is a constructivist approach in that it avoids essentialist explanations of events or innovations (e.g. explaining a successful theory by understanding the combinations and interactions of elements that make it successful, rather than saying it is “true” and the others are “false”). However, it is distinguished from many other STS and sociological network theories for its distinct material-semiotic approach. Background and context[edit] ANT appears to reflect many of the preoccupations of French post-structuralism, and in particular a concern with non-foundational and multiple material-semiotic relations. Many of the characteristic ANT tools (including the notions of translation, generalized symmetry and the “heterogeneous network”), together with a scientometric tool for mapping innovations in science and technology (“co-word analysis”) were initially developed during the 1980s, predominantly in and around the CSI. A material-semiotic method[edit] Translation[edit]
Antonin Artaud Antoine Marie Joseph Artaud, better known as Antonin Artaud (French: [aʁto]; 4 September 1896 – 4 March 1948), was a French playwright, poet, actor, essayist, and theatre director.[1] §Early life[edit] Antoine Artaud was born 4 September 1896 in Marseille, France, to Euphrasie Nalpas and Antoine-Roi Artaud.[2] Both his parents were natives of Smyrna (modern-day İzmir), and he was greatly affected by his Greek ancestry.[2] His mother gave birth to nine children, but only Antonin and one sister survived infancy. When he was four years old, Artaud had a severe case of meningitis, which gave him a nervous, irritable temperament throughout his adolescence. Artaud's parents arranged a long series of sanatorium stays for their temperamental son, which were both prolonged and expensive. §Paris[edit] In March 1920, Artaud moved to Paris to pursue a career as a writer, and instead discovered he had a talent for avant-garde theatre. §Final years[edit] §Apprenticeship with Charles Dullin[edit]
Bruno Latour Bruno Latour (/ləˈtʊər/; French: [latuʁ]; born 22 June 1947) is a French philosopher, anthropologist and sociologist.[3] He is especially known for his work in the field of science and technology studies (STS).[4] After teaching at the École des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006–2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017.[5] He was also a Centennial Professor at the London School of Economics.[6][7] Latour's monographs earned him a 10th place among most-cited book authors in the humanities and social sciences for the year 2007.[10] Biography[edit] As a student, Latour originally focused on philosophy and was deeply influenced by Michel Serres. Awards and honors[edit] Holberg Prize[edit] A 2013 article in Aftenposten by Jon Elster criticised the conferment to Latour, by saying "The question is, does he deserve the prize
MACHINES CELIBATAIRES Origine : Systèmes séparés de la vie La pensée organisée en chapelles, l'art, la mode, l'économie, les marques, les multinationales, la fonction publique, les boîtes de com', entre autres exemples, peuvent être considérés comme de tels systèmes. Ces systèmes se comportent comme des machines, fascinantes certes, mais qui tournent par elles-mêmes, pour elles-mêmes et en elles-mêmes. D'aucuns y voient la fin de l'art, c'est le sens caché (?) Au contraire des systèmes-machines propres, débarrassés de toute scorie, où tout ce qu'on a introduit est traçable, stérilisé, où les pièces de fonctionnement sont toutes interchangeables et la fiabilité comme l'hygiène sont garantis. Les grands trusts mondiaux, avec leurs marques et logos, leurs alliances et leurs O.P.A, ne fonctionnent pas autrement. La Mégamachine Progrès, ou "actualisation illimitée du possible", Car liberté égale courage. Parole d'Indigène! Le label est en train de remplacer les auteurs. May Livory
Manuel Castells Manuel Castells (Spanish: Manuel Castells Oliván; born 1942) is a Spanish sociologist especially associated with research on the information society, communication and globalization. The 2000–09 research survey of the Social Sciences Citation Index ranks him as the world’s fifth most-cited social science scholar, and the foremost-cited communication scholar.[1] He was awarded the 2012 Holberg Prize,[2] for having "shaped our understanding of the political dynamics of urban and global economies in the network society. Life[edit] Manuel Castells was raised primarily in La Mancha but he moved to Barcelona, where he studied Law and Economics. "My parents were very good parents. Castells was politically active in the student anti-Franco movement, an adolescent political activism that forced him to flee Spain for France. In 1979, the University of California, Berkeley appointed him as Professor of Sociology, and Professor of City and Regional Planning. Work[edit] Publications[edit] Susser, Ida.
GRILLE POUR UN MONDE POETIQUEMENT CORRECT Mon hypothèse de départ est que le monde de l'art et le monde industriel, vécus par les mêmes êtres humains, peuvent et doivent échanger leurs philosophies et leurs problèmes. Je suis donc fondé à appliquer à la problématique actuelle de l'industrie les réflexions et les travaux de créateurs artistiques de la première moitié du siècle tels que les surréalistes. En ce qui concerne l'investissement considérable que nous consacrons actuellement à notre interaction avec les machines, nous avons un trésor d'outils de réflexion à puiser dans ce que ces créateurs ont ressenti, représenté et exprimé. En particulier, une analyse serrée montre que la vie et l'œuvre de Marcel Duchamp sont au centre de ces préoccupations et dégage les éléments fondamen-taux d'une réflexion contemporaine efficace. Rappelons quelques points de la vie de Marcel Duchamp fondant mon propos. Les cubistes (déjà) traditionnels sont atterrés. Duchamp part aux États-Unis, où son Nu fait sensation à l'Armory Show. • etc