Maddening the Subjectile

ELUDING DERRIDA - artaud and the imperceptibility of life for thought

“…For Derrida, the diagnosis is that Artaud's drawing and writing must always and every time be both passion and metaphor, both singular and analogical, though always an object. 20 The drawing, the painting, the theater, the poetry, all succumb to the stability of form in order for there to be any relation to them at all, but in so doing they become objects. In Derrida's analysis, there is no affective life to account for, no heterogeneity, no differentiated quality or coloring in every pain and pleasure.…”

Adventure: Biopolymer Aesthetics and Empathetic Materialism—Another World is Possible

“…Biomaterials are often porous and membrane-like, and in the studio this porosity generates working methods and interfaces where affective processes and regenerative practices allow another world to be possible (see Haraway, 2008). We might talk about such affective interfaces, in a physical and psychic sense that may include more-than-human figures and grounds (Derrida & Caws, 1994). Grosz (2008, p. 70) enlarges this kind of interface via Deleuze and Guattari, into a "plane of composition"-the site of compound sensations like artworks; sexual selection; and the mobilisation of territorialising and deterritorialising forces.…”

To Dance Wrong Side Out: Artaud, Mbembe and dance as a visceral insurgency of the body without organs

“…More specifically, according toMèredieu (2011, p. 780), from his 406 notebooks, a hundred would have been written during the Rodez period (when the electroshock treatments ended approximately two years after Artaud's arrival), and the rest would be written after his return to Paris and during his residence at the Ivry sanatorium.9 The term picto-choreography is used byDerrida (1994) to refer to the way Artaud's notebooks were written, scribbled, burned and filled with holes, forming true pictograms, almost as magical symbols. Written in strokes that are sometimes spasmodic, sometimes blunt, they display a performative rhythm of their own.10 Philosopher and Professor Achille Mbembe was born in the Republic of Cameroon in 1957, a western region of Central Africa.…”