: 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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Thus it becomes impossible to ignore the cartogrsfia that this preverse cartography provokes in us. Artistic intervention is inscribed in the performative plane — whether visual, musical, verbal or otherwise — carrying out irreversible changes in the reigning cartography.
Such practices establish a relationship of exteriority between the body and the world, where everything remains in the same place and the attention is entertainedimmersed in a state of distraction that renders subjectivity insensible to the effects of the forces shaking up the environment around it.
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. It was particularly important to evoke and record the anguishing experience of the abyss that gaped open in Brazil at the time between the macro and micropolitical actions which manifested themselves in the guerrilla movement and the counter-culture in a kind of mutual paranoic repulsion.
Anything that deviates from common sense is considered a mistake, irresponsible, or worse, an act of treason. The tension between these two irreducibly paradoxical capacities of the sensible is what summons up and lends impetus to the creative imagination that is, the exercise of thoughtwhich, in its turn, unleashes becomings of oneself and the environment in singular and non-parallel directions, driven on by the effects of their encounters.
The act of perforation makes me discover, on the white surface of the T-shirt and overalls I am wearing, a compact skin that covers my body like a thick layer of plaster; what is more, it seems to me that this envelope has been there for a long time, without my ever noticing it.
The next-to-last step was taken in the work developed with cartografka students at Sorbonne, where the artist taught from to 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 in the cultural or political terrain, then returning to autonomy again.
Exhibited within are stuffed birds of various provenances.
Whereas the characteristic operation of artistic intervention, with its micropolitical potential, acts on the tension of the microplitica dynamic located between the dominant cartography with its relative stability, on the one hand, and on the other, the sensible reality in continuous change, the product of the living presence of otherness that ceaselessly affects our bodies.
In this drift toward public life, the artistic interventions that preserve their micropolitical potential are those made on the basis of the ways the tensions of cultural capitalism affect the body of the artist; and it is this quality of relation with the present that such actions try to call up in their receivers.
The work produced in her drift consisted in the construction of a singular territory, to which the artist gave body step by step throughout her entire trajectory. Lygia built up this new public with her objects and devices, through a relationship with each one of her receivers, having a politics of subjectivation as a goal and duration as a means the precondition for intervening in this field, which allows her to reintroduce otherness, imaginative creation and becoming.
The first one convokes mainly perception, and the second one, sensation. This was her way of resisting the tendency of the artistic institution to neutralize the potential of creation by means of the reification of its product, reducing it to a fetishized object. It is in this way that the properly poetic force can participate in the destiny of a society, contributing so that its vitality can affirm itself in immunity to the seductive call of the market, which proposes an orientation in exclusive accord with its own interests.
It is in these moments that the conservative forces of common sense triumph over the forces of invention. This blockage is the product of the mercantile-media logic imposed on the artistic terrain, which acts inside it and outside it. When Google enabled access to Twitter services through landlines in Egypt, the American administration erred on the side of caution. Between the two poles, active and reactive, a changing multiplicity of forces is asserted, at varied and variable degrees of potential, in a constant reordering of the diagrams of power.
Yet there is one thing of which we can be sure: It is necessary to differentiate attitudes also in that drift. But that is not all: The song that occurs to me is one of the many Tropicalismo songs I learned in Brazil.
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. The regime became much more rigid and violent from onwards. Their poetry is the incarnation of such sounds, which then can be heard among us.
guattari micropolitica cartografia do desejo pdf free – PDF Files
On January 8, an editorial in Magyar Nemzet Hungarian During the revolution in Egypt, such tools proved their ability to animate the global public, while politics reasoned by ideas remains, as of yet, incapable of responding to chronic problems. This concept designates the capacity of all sense organs to allow themselves to be affected by otherness.
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. Could it be that my body had become rigid just as that timbre had disappeared? It was necessary to incite people toward a work of elaboration of this intense experience off an entire generation, a work that had been blocked as a result of the superimposition of the deadly effects of the dictatorship and of neoliberalism on the exercise of thought task which I would face armed with my thirty years of psychanalytical practice.
The artist has indeed digested the object: I decide, there and then, to return to Brazil, even if I had never considered leaving Paris until then.
guattari micropolitica cartografia do desejo pdf free
Whether this enterprise is carried out within museological spaces or not depends on their singularity and on the kind of problem that gives rise to it; and if, in certain cases, the museum can be one of the possible sites for such actions, the choice of the adequate institution involves a cartography of the forces at work before one launches any initiative.
The plaster that had until then been the guarantee of my survival, to the point where it could be mistaken for my own skin, lost its purpose the moment the soft, tender timbre recovered the courage to manifest itself.
To this end I relied on my experience with clinical work in the social field, as introduced by psychotherapy guattarii institutional analysis. The artist had avidly read the Anti-Oedipusthe first conjoint work by the two authors, at the very moment of its publication inmicrlpolitica there she found a curious syntony with her own investigations. The setting is one of the Saturday afternoon singing lessons I have been taking along with two friends.
Her relationship with the receiver, mediated by the objects, had become indispensable for the realization of the artwork: