: 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.
|Published (Last):||19 November 2011|
|PDF File Size:||10.58 Mb|
|ePub File Size:||11.85 Mb|
|Price:||Free* [*Free Regsitration Required]|
Instead the most striking artistic practices of intervention in public life are the ones that assert the characteristic political potential of art. The Experimental Exercise of Freedom: In a few words, I refer to three processes.
The timbre dewejo her voice conveys the pale pain of an inane life, as if to die were the same as to live. But Lygia is no longer among us, and the decision of how to react to this return could only be taken by ourselves. The Gulf War did not take place, as Baudrillard notoriously put it. As in all exiles, if the territory cartografja therapy had served as a prosthetic body to reactivate the vitality of creation agonizing in the territory of art, the process would be continued with the return to carfografia latter, on the condition that the body of her oeuvre reinvented and revitalized in exile could radiate its potency there, opening spaces of poetic pulsation.
I went back, and never for a moment doubted the wisdom of that decision. It is probably because of this shift that, during that particular class, everything happened at once—the return of the timbre, the discovery of the hard shell that micropolifica been covering me, and the feeling of asphyxiation it had come to give me.
And, what is more, that this gift appears where one least expects it—in a simple pop song. Sloterdijk, Terror from the Air, trans.
Deleuze, Schizoanalyst – Journal #23 March – e-flux
But that is not all: We will never know. He proposes that we work cartograffia, offering me a gift and a theme: In this migration, the artist reinvented a public in the strong sense of subjectivities bearers of an aesthetic experience. The song that occurs to me is one of the many Tropicalismo songs I learned in Ro. Cartografias do desejopublished in five languages. Although he is personally present in this small tale, the potency distilled from this narrative for combatting the intolerable transcends his person and, obviously, the hangover of the military regime.
The Relational Lens Having identified the extraterritorial drift according to the cartography that Holmes has offered, we can now trace its outlines more precisely.
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.
Due to a weak will to power that limits their force of creation, subjectivities of this kind consider themselves to be constituted once and for all, and have no means of understanding such ruptures as inherent to the delineation of their own limits, which are always being redrawn as the function of a desire for new connections. InLygia Clark wrote: In the case of the curators, for example, such vulnerability serves to sense the artistic proposals that hold the power to update such up to then virtual problems, thus taking up the ethical responsibility of their function, in full awareness of the political and clinical value of the artistic experience.
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.
I consider poetry to be one of the most important components of human existence, not so much in terms of value, but rather as a functional element.
I will give a personal example: During those decades, a broad movement of institutional critique had shaken the field of mental health, provoking irreversible ruptures.
And with it, the syndrome of forgetfulness that I had developed in order not to die, dissolved. 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.
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.
The act of perforation makes me micrpolitica, 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.
Because social life is the final destination of the inventive force instrumentalized in this way — systematically taken out of its course and channeled into the production of the intoxicating imagosphere — social life is precisely the place micropokitica many artists have chosen to set up their critical devices, when they are driven out of the equally suffocating terrain of artistic institutions.
This blockage is the product of the mercantile-media logic imposed on the artistic terrain, which acts inside it and outside it.
guattari micropolitica cartografia do desejo pdf free
But how to transmit work like that of Lygia to this kind of space? It is common to describe technology as a cultural practice, or culture as a fabric of interwoven material, intellectual, and social techniques.
The curious thing is that the body reveals its petrification at the same moment when the delicate stream of voice punctures it, as if skin and voice were somehow interlocked.
And what differentiates them even in their intersection? The Museum of Contemporary Art,