Brian Massumi

Xu Bing's installations are renowned for their production of "nonsense writing," that is, for extracting operations from Chinese characters in a manner that defies conventions for what is sensible and intelligible in writing. Xu Bing, apparently in all seriousness, glosses such "nonsense" with the Chan Buddhist notion of shengyu 生语 or "living word." If the characters in Xu Bing's installations can be said to be living words, it is because they afford an experience of what is nonsensuous in the everyday experience of characters-while we are used to characters being visible and audible, we do not normally experience what happens between seeing and saying the character. In this paper, I look at various installations in which Xu Bing uses techniques of abstract resemblance, such as pictographs (characters that resemble things) and psuedographs (fake characters that resemble actually used characters) in order to provide an experience of nonsensuous similarity or semblance prior to and beyond resemblance. The challenge of his recent installation, Background Story, is that it explores nonsensuous similarity in a new register: calligraphic paintings in which there is brushwork without brushwork, in which actual things appear self-abstracting. Thus his art delivers a profound challenge to received hierarchies for organizing experience, suggesting that things are no less abstract than images or signs, only differently so.

Offering a radical re-evaluation of current approaches to performer training, this is a text that equips readers with a set of new ways of thinking about and ultimately 'doing' training. Stemming from his extensive practice and incorporating a review of prevailing methods and theories, Frank Camilleri focuses on how material circumstances shape and affect processes of training, devising, rehearsing and performing. Frank Camilleri puts forward the 'post-psychophysical' as a more extended form of psychophysical discussion and practice that emerged and dominated in the 20th century. The 'post-psychophysical' updates the concept of an integrated bodymind in various ways, such as the notion of a performer's bodyworld that incorporates technology and the material world. Offering invaluable introductions to a wide range of theories around which the book is structured-including postphenomenological, sociomaterial, affect and situated cognition-this volume provides readers with an enticing array of approaches to training and creative processes.

The Generative Code If we consider our viewpoints , perceptions, and conceptions the results of political, economical, or cultural exposures which are themselves the results of hugely disparate human and non-human constructs; and if we consider these as being magnified by advances in communications and technologies over the last century; if we understand that this has led to an altered perception of the production of knowledge which foregrounds its fragile and temporal nature, then we can establish that knowledge production has changed from being dependent on identity and definition, to one that produces movement and possibility. Modes of being/doing have been transformed by advances in science and technology. In addition to this, our understanding of being and doing has been transformed by discoveries at the heart of science and the nature of genesis. The new ideas and concepts that proliferate as a result of technological invention has revolutionised our relationship with the world in terms of thinking and perceiving. These altered relationships regarding our integration into the world provide an altered understanding of form as being /doing. This relationship has always been explored through the experimental art practice, never more than now has this relationship carried so much in terms of an understanding of our position as percievers and concievers in rapidly moving cultural predicaments. This is because the experimental practice redraws our relationship with knowledge production as socio-cultural and politico-economic processes instigated from collective purpose/content trajectories at the same time incorporating disseminated dialogues of intervention and chance. It provides a model or a blue print for how invention-the genesis of ideas, values and things-is created, established and utilised which can aid creative intervention across disciplines and borders.

Enlivened by queer and feminist enactments of new materialist, posthuman and affect theory, this chapter explores what has become possible with speculative pARTicipatory activist encounters with young people, educational practitioners and politicians in the field of gender and sexuality education in Wales (UK). Sparked by a throw-away comment of how some boys use rulers to lift up girls’ skirts, the chapter maps what else a ruler can do through a series of five ‘ruler-skirt risings’. Each rising provides a glimpse into the agency of ‘d/artaphacts’ (arts-based research objects) across micro-resonating moments to macro force-fields of change. From fashion activism to curriculum and national policy, every rising takes form and shape to in-form and re-animate how sexism, sexual violence and sexuality education might be felt, noticed and engaged with differently, but never in ways known in advance and always on the move.

For Donna Haraway, a tentacular life is relational and sticky, a moving-creating-living with that is at heart sympoietic and entangled. Wilding, as a speculative pragmatic and ten-tacular practice, involves thinking about the world in ecological terms-that is, neither a world of objects or one of fixed and separated subjects with a distanced perspective of the world. Instead, wilding involves a tactic of embracing an entangled and multi-storied approach to thinking. In this article the question of the possibility of ecological rather than individualized consciousness is speculated upon through the tentacular. Drawing on William James' impersonal conception of consciousness and contemporary biology's insights into the relationality of life and thinking, this paper asks: what would a sympoietic concept of consciousness mean? How would this shift the valuing of intelligences towards activism and allow us to learn from those, human and nonhuman, traditionally denied intellectual value?

This essay is an attempt to do an intellectual history, one of affect theory both within and without biblical studies, as an ecology of thought. It is an “archive of feelings,” a series of thematic portraits, and a description of the landscape of the field of biblical studies through a set of frictions and express discontentments with its legacies, as well as a set of meaningful encounters under its auspices. That landscape is recounted with a fully experiential map, one drawn with as much capacity for precision and self-relativizing as I can muster, and one that also intentionally relativizes those more dominant sources and traditional modes of recounting intellectual history. Affect theory and biblical studies, it turns out, both might be described as implicitly, and ambivalently, theological. But biblical studies has not only typically refused explicit theologizing, it has also refused explicit affectivity, and so affect theory presents biblical studies with both its own losses and new and vital possibilities.

NEUROREDUCTIONISM ABOUT SEX AND LOVE Julian Savulescu and Brian D. Earp
‘Neuroreductionism’ is the tendency to reduce complex mental phenomena to brain states, confusing correlation for physical causation. In this paper, we illustrate the dangers of this popular neuro-fallacy, by looking at an example drawn from the media: a story about ‘hypoactive sexual desire disorder’ in women. We discuss the role of folk dualism in perpetuating such a confusion, and draw some conclusions about the role of ‘brain scans’ in our understanding of romantic love.

In forme et matière, Gilbert Simondon discusses how matter—all matter—takes form. It is neither the essential qualities of the underlying matter, nor the shaping qualities of an applied form that dictate the final shape and nature of any material thing. He uses the metaphor of the formation of a brick to illustrate this profound but simple point: neither the mix of components alone, nor the brick mould alone are sufficient to produce a brick; la prise de forme of a brick requires both of these and moreover a specific process—an event—to work these elements together into their ultimate shape.

According to Massumi, Simondon's writing on form and matter can be usefully mobilized to think through how discourse forms and circulates. Rather than a simplistic reading that would see discourse as a mimetic reflection of human culture, or a deterministic one that would see it as a top-down shaper of culture, Massumi's mobilization posits discourse as technosocial event, shaping and shaped, forme et matière. It is the complex singularity that gains substance through its ongoing becoming, it is both medium and message.

This paper explores the hashtag as a similar technosocial event; both text and metatext, tag and subject matter, hashtag-mediated discursive assemblages are neither simply the reflection of pre-existing discourse formations nor do they create them out of digital thin air. Rather, they are nodes in the becoming of distributed discussions in which their very materiality as performative utterances (Bruns) is deeply implicated. Hashtags are mobilized in discourse that recognizes itself as such, a crossroads between form and matter, medium and message entangled.

Die Diskussion um Abstraktion und Körper ist auf engste mit dem Medium Schrift verbunden und subsumiert wesentliche Aspekte der Schriftphilosophie, insbesondere die Frage nach der Materialität von Schriftzeichen und der Körperlichkeit ihrer Hervorbringung. Der Text wirft einen Rückblick auf die historische Gewordenheit der Verschränkung von Schrift und Abstraktion samt ihrer Rolle als Negativfolie einer phonozentrischen Konkretionsidolatrie. Auf der Suche nach Alternativen zu der harten Dichotomie von Schrift und Konkretion fällt der Blick auf Tanz und Choreographie als Inszenierungen einer écriture corporelle. Am Beispiel von Trisha Browns 'Locus' (1975), einem der einflussreichsten Stücke des Postmodern Dance, stellen sich die Fragen: Mit welcher Taktik schreibt sich hier Tanzen in den Diskurs der Schrift ein? Wie verändert eine solche Einschreibung das Verhältnis von Konkretion und Körperlichkeit? Und: Warum provoziert gerade die Korporealität eines Schrifttanzes dessen Wahrnehmung als abstraktes Ornament?

This paper argues that Arendt's conception of non-human animal appearance can be put into a productive dialogue with recent developments in critical animal studies (CAS) and animal rights theory (ART), especially with the so-called political turn in ART, where notions such as (dependent) agency, zoopolis, and animal agora play an important role. Critically examining the animal condition in Arendt's account of the human condition, and focusing on the animal condition in Arendt's work means exploring her potential contribution to political theory in a world where non-human-animals and nature are seen as making claims of entry into the political community. Can Arendt's work help us rethink the boundaries of the political community beyond the human species? And, more specifically, how might her conceptual resources be used to think the political agency of non-human animals?

This paper puts contemporary theories of embodiment and performance in the service of interactive arts criticism. Rather than focusing on vision, structure or signification, the author proposes that we explic- itly examine bodies-in-relation, interaction as performance, and “being” as “being-with.” He presents four concrete areas of concentration for analyzing the category of interactive art. The author also examines how such work amplifies subjects and objects as always already implicated across one another.

Um evento como acontecimento. Um livro como ruína de um evento que
aspira a reativar e renovar o acontecimento por outros meios. Um livro como campo aberto de experimentação, não do que foi, mas do que os corpos podem ao se compor com as palavras-imagens que ele carrega junto. Um livro que a cada página afirma a multiplicidade e, em consequência, chama para que entremos nele das mais diversas maneiras. Estas podem ser infinitas, como almejamos que sejam os desdobramentos e compostagens deste livro. No entanto, aqui me limito a três breves entradas... (S. Wiedemann)

Sétima edição do Seminário Conexões:
Deleuze e Cosmopolíticas e Ecologias Radicais e
Nova Terra e…

Um seminário que chega à sua sétima edição, sempre com um
título seguindo de “e” três pontos: nova terra e… máquinas devires e… territórios e fugas e…
Desta vez o Antropoceno, tempo “marcado pelas catástrofes, pelas mudanças climáticas e nossa ação irreversível sobre as condições materiais de existência, sobre Gaia; parece que nos joga em direção ao fim do mundo”. Mas a leitura do livro fará o leitor tomar outro rumo. Luiz Orlandi, Whitehead, Brian Massumi, Charles Sanders Peirce, Aylton Krenak, uma lista de nomes entre autores e citados... e autores citados... e citados autores... A questão via Deleuze e a filosofia da diferença é que a flecha inexorável e irreversível do tempo não vai no sentido que se acreditava, nem é uma só. A flecha vem do futuro, não vai ao futuro, ela também vem do passado, mas de um passado que é presente, lugar em que uma verdadeira pororoca temporal atravessa os que nela conseguem sobreviver. Vivemos hoje e sempre vivemos no entre, acontecemos no meio, como lembra Whitehead; a todo tempo são novos tipos de encontros, como diz Luiz Orlandi. O sujeito nasce do evento, e que evento é este? O encontro, o "entre" forças irreversíveis de futuro, forças irreversíveis de virtuais, forças de encontros entre Caos, Gaia, Chronos e Aion.
Se o senso comum propaga a ideia de um mundo que é levado ao fim, o “fim do mundo”, “o fim do tempo de chronos”, o que este livro aponta é outra coisa, uma leitura necessária: não se trata de um fim do mundo, mas de um mundo inacabado. Só tem fim o que está acabado e é isto que nos relembra a todo tempo a filosofia do eterno retorno das condições do diferente. Daí o “e” três pontos, “e...”. Referência direta a um dos últimos textos de Deleuze, “Imanência: uma vida...”, Imanência-doispontos-uma-vida-três pontos, como já nos lembrava Agamben, ideia que agora reverbera neste livro, neste resultado impecável da organização de Antonio Carlos Amorim, Susana Oliveira Dias e Sebastian Wiedemann. A universidade se mantendo aberta, uma frase que resume todo o livro e que vem em meio ao texto daquele que abriu às leituras brasileiras o denso Diferença e Repetição de Gilles Deleuze, Luiz Orlandi.
Silvio Ferraz (USP)

With this poetic and scholarly collection of stories about art, artists, and their materials, Nathaniel Stern argues that ecology, aesthetics, and ethics are inherently entwined, and together act as the cornerstone for all contemporary arts practices. An ecological approach, says Stern, takes account of agents, processes, thoughts, and relations. Humans, matter, concepts, things, not-yet-things, politics, economics, and industry are all actively shaped in, and as, their interrelation. And aesthetics are a style of, and orientation toward, thought—and thus action.

Ecological Aesthetics is a plea for us to continuously think- and act-with the world and its inhabitants, both human and nonhuman; to orient ourselves in ways that we might find and express what our environments, and what they are made of, want; and then to decisively help and continue those thoughts, wants, and actions toward novel aims and adventures.

Free introductory chapter included here. Full book at <https://amzn.to/2MJPDNG>

The PhD-thesis “Stottern im Firmament – das kollektive Gedächtnis denken” addresses how the ‘individual’
at the point of interception within the stream of collective representations, according to Maurice
Halbwachs, can be thought and which problems this concept leads to.

Chapter [2] “From Time Toward Duration Toward Memory…” gives an idea of the historical
context in which the term ‘collective memory’ has been formed. This chapter starts with ‘time-subjectrelations’
before Halbwachs, shows a central opposing position to that of Halbwachs and asks how his
conception of collective memory has been used after Halbwachs.

Chapter [3] “…Toward Memory as Duration: The Collective Memory” presents a close reading of
Halbwachs’ main texts by on collective memory. The goal is to more clearly determine the ‘individual’
situated within the stream.

Chapter [4] “The Collective Memory as Social Function” first evaluates the outcome of how
thinking the point of interception is possible within social dynamics by presenting collective memory as
keeping of collective representations in time (‘Im-Gedächtnis-Haben’) and as activity. The ‘individual’
takes place. Its status is precarious because it is de-centred and drawn towards a plurality from which no
positive determination can be derived. In comparison to the concept ‘Gedächtnis der sozialen Systeme’, the auto-reflexive aspect is emphasized. In comparison to the concept ‘Subjekte der Konversion’
(Foucault, Derrida, Badiou), the structural aspect towards the ‘individual’ is stressed.

Chapter [5] “Interrupts at the Limit of the Firmament” is a critical questioning of the collective
memory from a standpoint in the ‘stream of collective perceptions’. On the one hand, in relation to the
sociolinguistic paradigm from within Halbwachs developed his concept, and on the other hand, by not
limiting to the sociolinguistic dimension of shifting paradigms of thinking concepts of collective
connectivity. Moreover, Halbwachs has situated the ‘individual’ between, among the flows of collective
representations, and the questioning has to be expanded with the concept of media theory.

Chapter [6| “Thinking the Collective Memory” demands the attempt to relocate the interception
point relative to the critical questioning, whereby the focus is no longer to place it, but is based much more
upon the resulting aporia. The focus is to show which kind of aporia will become visible within the
concept of collective memory when it is analysed in terms of ‘individual’, ‘collective’, ‘time’ and ‘space’.
The analytical horizon of the problem of collective memory becomes transparent revealing where research
after Halbwachs could start.
Supervisors: Elisabeth von Samsonow and Arno Böhler

À l’origine de la constitution de ce dossier de lecture informel et indiscipliné – une entrée en étude, au sens fort que les auteurs de The Undercommons (Autonomedia, 2013) donne à ce mot – se trouve une question, qui a émergée au fil de la lecture collective de Nietzsche et la philosophie de Gilles Deleuze
(1962) tenue au SenseLab au printemps 2014 : que signifie  "pour nous", qu’est-ce qui est en jeu dans la méthode de dramatisation ? En essayant d’y répondre, nous
avons été rapidement confrontés à une autre question, plus simple et proprement
essentielle, autour de laquelle s’articule l’interprétation proposée par Deleuze de la méthode de dramatisation nietzschéenne: l’importance en tout point déterminante de la question « Qui ? » dans la tentative d’élaboration d’une image
de la pensée qui se détourne du clair et distinct de la représentation au profit des processus ontogénétiques d’individuation.

There exists a tenacious dichotomy between the 'organic' and the 'synthetic' in electronic music. In spite of immediate opposing qualities, they instill sensations of each other in practice: Acoustic sounds are subject to artificial mimicry while algorithmic music can present an imitation of human creativity. This presents a post-human aesthetic that questions if there are echoes of life in the machine. This paper investigates how sonic aesthetics in the borderlands between electronic avant-garde, pop and club music have changed after 2010. I approach these aesthetics through Brian Massumi's notions of 'semblance' and 'animateness' as abstract monikers to assist in the tracing of meta-aesthetic experiences of machine-life, genre, musical structure and the listening to known-unknown noise. The idea of a post-Internet society acts as framework for the intimate relation between pop and avant-garde in contemporary electronic music. This relation is a result of a sonic contextualization of late-capitalist society via the Internet. Finally I discuss how pop is the noise in the avant-garde and how the human in a post-Internet era presents itself through synthetic plasticity.

This short discussion piece engages with an influential phenomenological approach to atmospheres, focusing on the work of Hermann Schmitz. Against a background of agreement on the contours of an understanding of atmospheres and their relevance, the text presents a number of critical considerations, in part comparing and contrasting Schmitz's approach with that of cultural theorist and affect studies' pioneer Brian Massumi.

Endorsed by Professor Will Steffen and Professor Makere Stewart-Harawira
This book confronts new pedagogical challenges of the Anthropocene era. The authors argue that this new epoch, with an unstable climate and new varieties of globally spreading viruses, calls for a re-invigoration in education and an alertness to new philosophies of education, pedagogical imaginations, thoughts and practices. Addressing the linkages between the Anthropocene and Pedagogy across a broad pedagogical and cultural spectrum that is both formal and informal, the editors and their contributors emphasize a re-imagining of education that is alive, and serves to deepen our understandings of the capacities and values of all planetary life.

This chapter reviews logistical practices, software and narratives that govern e-waste across formal and informal recycling circuits in Hong Kong. It rethinks the order/disorder binary that typically frames waste. E-waste appears to be an ambiguous denomination and its mobility is not strictly surveilled. Yet rather than failure, this signifies the transformation of power and governance, from what Foucault labels discipline and security into what Massumi terms environmental power. The use of logistical software as well as the interfacing between the formal and informal circuits shows that, paradoxically, e-waste's transient nature is both constructed and de facto emergent in an uncontrollable fashion. This chapter helps understand logistics beyond the connotation of singular, rational strategy; and the normalized disappearance of astonishing amounts of e-waste beyond accidental slippage. ~

Inspired by feminist new materialist and posthuman activist philosophy, this paper speculates on what happens when data entangles with artsbased methodologies in a school-based participatory activist project with six teen girls (age 15) on gender-based and sexual violence. Mapping the journey of how data become da(r)ta and how da(r)ta become d/artaphacts, the paper follows how the Runway of Disrespect, the Shame Chain, the RulerSkirt and the Tagged Heart ripple through peer cultures, school assemblies and national policy landscapes. Each journey provides a small glimpse into how bodies, space, objects, affects and discourse ‘intra-act’ in dynamic assemblages to produce d/artaphacts crafted from and carrying experience. The paper concludes to consider the ethical-political affordances of how participatory arts-based methodologies and the im/personal vitality of objects might support young people to safely and creatively communicate and potentially transform oppressive sexual cultures and practices.

Brian Massumi (1956–) is a contemporary political theorist of communication, critical and cultural studies, philosophy, political theory, science, and aesthetics. One of the foremost thinkers of "radical empiricism," he is responsible for enabling the widespread use of Deleuzean philosophy in communication and inaugurating the so-called “affective turn” in the theoretical humanities. Massumi is Professor of Communication at the Université de Montréal and a collaborator with the experimental art and activism lab SenseLab, founded by Erin Manning. His most well-known translation is Gilles Deleuze and Felix Guattari’s A Thousand Plateaus (1987), and he is the author of ten books, including the widely influential Parables for the Virtual: Movement, Affect, Sensation (2002).

Massumi’s radical empiricist approaches concern the aesthetics of communication and power in the context of global capitalism. He opens the field of communication to the study of relationality, what he calls “being-in-becoming,” which he describes in terms of Gilles Deleuze’s “the actual” and “the virtual.” His critical embrace of becoming reframes the concept of “the event” as a processual unfolding of forces of expression, or experience. Instead of remaining wedded to communication models that limit language to designation, manifestation, and signification, Massumi’s focus on becoming calls for accounts of the extra-linguistic. Three key concepts include expression, affect, and perception. Through creative and experimental dispositions, Massumi position the fields of communication, critical and cultural studies, philosophy, political theory, science, and aesthetics toward vibrant scenes of relations-already-underway, or how feeling, thinking, and being begin, again, in the middle of something already underway—a "happening doing."

In Ways of Following, Katve-Kaisa Kontturi offers rare, intimate access to artists’ studios and exhibitions, where art processes thrive in their material-relational becoming. The book argues for an ethical and affirmative mode of engaging with contemporary art that replaces critical distance with sensuous and transformative proximity. From writing-with to dancing and breathing, from conversations to modelling, it maps ways of following that make the moving materiality of art intensively felt. Drawing on long-term engagements with selected contemporary artists and their art-in-process, Kontturi expands the concept and practice of collaboration from human interactions to working with, and between, materials. With this shift, Ways of Following radically reassesses such core tenets of art theory as intention, artistic influences and the autonomy of art, bringing new urgency to the work of art and its political capacity to propose new ways of being and thinking.

Link: http://www.openhumanitiespress.org/books/titles/ways-of-following/

This article seeks to amplify discursive constructions of social connection through technology with an examination of the proposed and presumed intimacies of the Tinder app. In the first half, we ethnographically examine the sociotechnical dynamics of how users navigate the app and take up or resist the subject positions encouraged by the user interface feature of swiping. In the second half, we provide a discussion of the implications of the swipe logic through post-structural conceptual lenses interrogating the ironic disruption of intimacy of Tinder’s interface.

Język, nierozerwalnie związany z rozumnością, traktowany jest w większości nowożytnych teorii polityki jako to, co określa człowieka i stanowi podstawę uspołecznienia. Echo tego pobrzmiewa w stwierdzeniu Jacques’a Rancière’a, że polityka – stanowiąca zawsze interwencję w nieegalitarny porządek w imię równości, biorąca w rachubę tych, którzy się nie liczą – ustanawia równość istot mówiących. Równość ta, która staje się widoczna w każdej politycznej interwencji, stanowi zarazem warunek możliwości polityki – tylko byty mówiące mogą się w nią angażować. Wydaje się więc z definicji obejmować tylko ludzi: zwierzęta, jako nieme, z konieczności nigdy nie będą się liczyć.
Nie jest to jednak oczywiste. Powiedzenie, że zwierzęta mówią (czyli myślą), oznacza zrewidowanie naszych poglądów na to, co znaczy mówić i myśleć. Chodzi tu przede wszystkim o zwierzęta i ich dobro – ale także o nas. Jesteśmy w końcu również zwierzętami i najwyższy czas, żeby to stwierdzenie przestało budzić oburzenie jako wyraz naturalistycznego redukcjonizmu.

This paper explores the rough, emergent and partial public culture of race-activist hashtags through the discourses of #RaceFail, a critical race quarrel that started in the sci-fi and fantasy blogosphere, and expanded from there into a broader, sustained discussion over social media; and #Ferguson, a recent race-activist hashtag raising issues around censorship, filtering and ‘gated discourse’. It ends with a discussion of how the frictions between the neoliberal desire to reduce hashtag publics to product publicity, and the activist desire to use hashtags to further public sphere awareness of political issues, is exemplified in the controversy over Facebook’s ‘algorithmic filtering’ of #Ferguson, and how, nevertheless, critical race hashtags are tapping into a developing tradition of vocal social media–supported dissent.

Nesta pesquisa, investigamos e problematizamos a visão de Candido de que a literatura tem uma função humanizadora. Para sustentar nossos argumentos teóricos, fazemos correlações entre literatura e antropologia a partir do pensamento de diversos teóricos, entre eles: Wolfgang Iser com seus desdobramentos sobre “O fictício e o imaginário”; Eduardo Viveiros de Castro, antropólogo brasileiro, com
seu livro Metafísicas Canibais e seu texto “Perspectivismo e multinaturalismo na América indígena” (presente no livro A inconstância da alma selvagem); Alexandre Nodari, professor e pesquisador na área de literatura brasileira e teoria literária da Universidade Federal do
Paraná, com seu texto de caráter fundamental para esta pesquisa: “Filozoofia”; Brian Massumi, filósofo e teórico social canadense, com seu texto O que os animais nos ensinam sobre política; Marília Librandi-Rocha, professora e pesquisadora na área de literatura brasileira na Universidade de Princeton (anteriormente, na Universidade de Stanford), com seu estudo intitulado “Escutar a escrita: por uma teoria literária ameríndia”. Tendo em conta a leitura desses e de outros teóricos, buscamos iniciar uma análise do conto de Guimarães Rosa “Meu tio o Iauaretê”. A partir da construção do processo narrativo, tentamos investigar como a linguagem literária ultrapassa a linguagem e o ritmo humano e se desdobra na plasticidade da linguagem animal. Parodiando o título do livro de Brian Massumi, tentamos perceber o que os animais nos ensinam sobre poética.

Contact Improvisation (CI) has grown into perhaps the most influential form of contemporary dance improvisation, yet is relatively seldom reflected upon in academic discourse. This article argues for a closer understanding of embodied and environmental aspects of consciousness and lived experience in the study of CI. Broaching the challenge of capturing such corporeal insight in the form of written analysis, this article is an attempt to reflect upon CI's potential contributions to humanities thought on embodied cognition. Embodied cognition theories assert that embodiment constitutes a fundamental and inseparable part of human cognitive and perceptual capacities, and thereby of human consciousness. CI calls to experience the body as " an intelligent practitioner rather than instrument " (Novack 1990, 185), with no full separation between " physical " and " mental, " nor between sensation, perception, and thought. CI may thus offer a highly potent territory for manifesting and further examining the radical inseparability between minds and bodies. First, this article provides an extended introduction of CI, discussing the difficulties of defining the form, the interconnectedness of its practice and discourse, and the challenges these pose for " objective " or " unbiased " academic analysis – which CI does not allow for. Next, the author turns to the link between CI and the writings of two central philosophical thinkers on embodied cognition: Alve Noë and Brian Massumi. This article proceeds to examine, through the link to CI, key tensions between Noë's and Massumi's framing of the interrelationship between the somatic experience of movement and vision, perception and navigation. Understandings of this interrelationship relate to the question of whether highly attuned embodied experience can potentially escape the limits of phenomenology. The author concludes by laying out arguments for both answers to this question, fusing Noë's and Massumi's positions to the tensions between conceptualizations of CI as " physics " and "chemistry".

This dissertation is a close examination of black (a non color) as a philosophical medium. A journey is taken through Buddhist concepts of Emptiness, interdependence  Deluzian 'immanence', affect, and how blackness in this manner both mundane and sublime is revealed concretely through the string sculptures of Fred Sandback and Ad Reinhardt's black paintings.