Suchergebnisse

Frontmatter -- Contents -- Acknowledgements -- Abbreviations -- Introduction: From Symptomatology to Schizoanalysis -- 1 A Case of Thought -- 2 The Paradox of the Body and the Genesis of Form and Content -- 3 Symptoms, Repetition and the Productive Death Instinct -- 4 The Identity of the Critical and the Clinical -- 5 The People to Come -- Conclusion -- Bibliography -- Index

Situated in the 'Painted Desert' north-east of Flagstaff, Arizona, James Turrell's 'Roden Crater Project' is an unprecedented instance of landscape architecture and one of the most important examples of contemporary environmental art. Enclosed within the
region's volcanic terrain, the project adheres to a system of precise geocosmic alignments, showing a fealty to celestial and astronomical events comparable with the ancient architectures of Newgrange, Ireland and the Temple of the Sun at Karnak. While dominant readings of Turrell's
work suggest vague notions of its 'harmony' with its natural environment, we propose that the significance of the 'Roden Crater Project' deserves a more thoroughgoing reconsideration of the architecture–environment relationship. We argue against any aesthetic
recourse to ecopsychological theories purporting a reconciliation of the divide between nature and culture. We instead offer, through readings of the philosophers Deleuze and Guattari and Nick Land, a novel theoretical framework for ecological aesthetics, which we call the eco-clinic. Drawing
in particular on Deleuze and Guattari's notion of 'intensive space' and Land's conception of 'geotrauma', we argue that Turrell's work represents a radical, post-naturalist reinvention of ecological perception that exceeds the nature/culture divide
in every direction.

A number of 'ecological' theories of cinema have emerged in recent years, many of which remain bound by antiquated models of figure and ground. These models typically belong to a pre-cinematic aesthetics of nature, sustaining an image of humanity uninformed by the recent prospect of
species self-extinction. We hereby propose a new model for conceiving of this relation, one based upon Nick Land's post-psychoanalytic notion of geotrauma, and which suggests that the earth as ground gives rise not just to territories but moreover to processes of ungrounding. These processes
are recapitulated in the human history of a traumatic relation to this (non)ground, suggesting a properly geophilosophical understanding of cinema that observes catastrophism as a genetic principle. Of consequence for any attempt to theorize human artifice and design under the present 'environmental'
moment, such an understanding presupposes a thoroughgoing revaluation of creative practice and process. We hereby provide a reading of three recent films in which the figures or iconography of the natural environment reflect this 'revolt' against ecological fixity. Visions of catastrophic
environmental change force us to reconceive of the very concept of nature as something fundamentally at odds with our perception of what is natural. We thus combine Land's theory of geotrauma with Deleuze's conception of cinema to argue that the cinematic image testifies to a 'pantraumatic
self-movement', one by which the relations between parts forming the conditioned or ecological whole are subjected to a universal ungrounding, and therefore by which something necessarily unconditioned escapes its 'natural' conditions. This geophilosophical emphasis upon escape, flight or
deterritorialization should replace the ecological aesthetics of figure and ground with a perceptual catastrophism, disrupting every naturalizing appeal to an harmonic relationship between the human and non-human, cultural and natural worlds.

"In 1972, the French theorists Deleuze and Guattari unleashed their collaborative project-which they termed schizoanalysis-upon the world. Today, few disciplines in the humanities and social sciences have been left untouched by its influence. Through a series of groundbreaking applications of Deleuze and Guattari's work to a diverse range of literary contexts, from Shakespeare to science fiction, this collection demonstrates how schizoanalysis has transformed and is transforming literary scholarship. Intended for upper-level undergraduates, postgraduates and scholars with an interest in continental philosophy, literary theory and critical and cultural theory, Deleuze and the Schizoanalysis of Literature is a cutting edge volume, featuring some of the most original voices in the field, setting the agenda for future research."--Bloomsbury Publishing

Frontmatter -- Contents -- Editor's Introduction -- Capital, Crisis, Manifestos, and Finally Revolution -- Articles -- Deleuze, Marx and the Politicisation of Philosophy -- The Marx of Anti-Oedipus -- Marx as Ally: Deleuze outside Marxism, Adjacent Marx -- The Fetish is Always Actual, Revolution is Always Virtual: From Noology to Noopolitics -- Minor Marxism: An Approach to a New Political Praxis -- Politicising Deleuzian Thought, or, Minority's Position within Marxism -- Review Essay -- After Utopia: Three Post-Personal Subjects Consider the Possibilities