Chaosmosis: An Ethico-Aesthetic Paradigm [Felix Guattari, Paul Bains, Julian Pefanis] on *FREE* shipping on qualifying offers. The final work by . Chaosmosis has ratings and 8 reviews. Levi said: The strongest opinion of Guattari, and subsequently Chaosmosis, that I can muster is that his pointe. Mathew Gacy 9/20/04 Chaosmosis: An Ethico Aesthetic Paradigm Indiana UP, pgs 1. Synopsis: In Chaosmosis, we find a proposal.

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View my complete profile. In Chaosmosis, we find a proposal for new ways of understanding and producing subjectivity that are conducive to the refoundation of politics in a very broad sense. Schizoanalysis instead is directed towards complexification, and divergent actualization. It recognizes the interaction between individuals, society, and institutions in the production of subjectivity as well as the heterogeneous construction of the Unconscious. This modelisation, or rather, metamodelisation utilizes the categories of material, energetic, and semiotic Fluxes, concrete and abstract machinic Phylums such as the steam engine, but also the writing machine, virtual Universes of value–more or less, value systems, though the concept is directed towards a recognition of their role in the production of subjectivity–and finite existential Territories, which are psychological, affective spaces created by an experience or situation.

Throughout the text, we encounter the concept of the machine liberated from its common technological connotations and expanded to encompass living beings, partial objects, and more abstract entities. Guattari develops a machinism, with its connotations of dynamism and processuality, that he opposes to structure and with which he describes subjectivity and society. Guattari valorizes the aesthetic machine’s exemplification of creativity and its involvement in the production of new existential Territories.

The capacity for creation is not exclusive to the aesthetic machine, but it carries it farthest. For example, while psychoanalysis has affirmed its scientific status, Guattari claims that it would benefit from the adoption of an aesthetic processual paradigm such that it might “reacquire the creativity of its wild years at the turn of the century” Regarding the production of existential Territories, Guattari writes that whatever their sophistication, a block of percept and affect, by way of aesthetic composition, agglomerates in the same transversal flash, the subject and object, the self and other, the material and incorporeal, the before and after.

In short, affect is not a question of representation and discursitvity, but of existence. I find myself transported into a Debussyst Universe, a blues Universe, a blazing becoming of Provence. I have crossed a threshold of consistency.

Before the hold parsdigm this block of sensation, this nucleus of partial subjectivation, everything was dull, beyond it, I am no longer as I was before, I am swept away by chaosmozis becoming other, carried beyond my familiar existential Territories Guattari posits that new schizoanalytic methods of modeling subjectivity that are fundamentally based on heterogeneity and creativity are necessary to advance a general “liberatory” project. French Post-Structuralist, Psychoanalytic 5.

There is chaosmsois possible tension between the generally democratic and liberatory values that Guattari expresses and the more prominent, better developed valorization of creation, experimentation, and the actualization of virtualities. Elsewhere, Guattari does stress the necessity of a constant vigilance in the face of the potential emergence of micro-fascisms, but he fails to address how the constant becomings that he espouses might be guided and their potential ramifications monitored.

In many ways, it is a reinterpretation of Marx and Freud and continues lines of thought that he and Gilles Deleuze developed in Anti-Oedipus and A Thousand Plateaus The text is firmly situated within the French post-structuralist theoretical field.

Guattari is influenced, most notably, by Nietzsche, Bergson, and far-from-equilibrium thermodynamics. Applications The text would seem to be of primary relevance ethico-aesthetlc psychology and cultural theory. Mapping of Text Guattari, Felix. Paul Bains and Julian Pefanis.

These complexes actually offer people diverse possibilities for recomposing their existential corporeality, to get out of their repetitive impasses and, in a certain way, to resingularise themselves.

Grafts of transference operate in this way, not issuing from ready-made dimensions of subjectivity crystallised into structural complexes, but from a creation which itself indicates a kind of aesthetic paradigm. One creates new modalities of subjectivity in the same way that an artist creates new forms from the palette.

Contemporary upheavals undoubtedly call for a modelisation turned more towards the future and the emergence of new social and aesthetic practices. I opted for an Unconscious. It is from such a rupture that an existential singularisation correlative to the genesis of new coefficients of freedom will become possible.


This detatchment of an ethico-aesthetic “partial object” from the field of dominant significations corresponds both to the promotion of a mutant desire and to the achievement of a certain disinterestedness. Here I would like to establish a bridge between the concept of a partial object obect “a” as theorised by Lacan that marks the autonomisation of the components of unconscious subjectivity, and the subjective autonomisation relative to the aesthetic object.

Thee simples examples of refrains delimiting existential Territories can be found in the ethology of numerous bird species. Certain specific song sequences serve to seduce a sexual partner, warn off intruders, or announce the arrival of predators. Each time this involves marking out a well-defined functional space. In archaic societies, it is through rhythms, chants, dances, masks, marks on the body, ground and totems, on ritual occasions and with mythical references, that other kinds of collective existential Territories are circumscribed.

When I watch television, I exist at the intersection: My feeling of personal identity is thus pulled in different directions. How can I maintain a relative sense of unicity, despite the diversity of components of subjectivation that pass through me? It’s a question of the refrain that fixes me in front [17] of the screen, henceforth constituted as a projective existential node. My identity has become that of the speaker, the person who speaks from the television.

Like Bakhtin, I would say that the refrain is not based on elements of form, material or ordinary signification, but on the detachment of an existential “motif” or leitmotiv which installs itself like an “attractor” within a sensible and significational chaos. The different components conserve their heterogeneity, but are nevertheless captured by a refrain which couples them to the existential Territory of my self. This does not involve Universes of reference in general, but incorporeal domains of entities we detect at the same time that we produce them, and which appear to have been always there, from the moment we engender them.

For them, its not a matter of transmitting messages, investing images as aids to identification, patterns of behaviour as props for modelisation procedures, but of catalysing existential operators capable of acquiring consistence and persistence. And, more precisely, what must characterise them so that they abandon seriality–in Sartre’s sense–and enter into processes of singularisation which restore to existence what we might call its auto-essentialisation. We cannot conceive of a collective recomposition of the [21] socius, correlative to a resingularisation of subjectivity, without a new way of conceiving political and economic democracies that respect cultural differences–without multiple molecular revolutions.

Fundamentally, the question of enunciation gets decentered in relation to that of human [22] individuation. It is in this zone of intersection that subject and object fuse and establish their foundations. It concerns a given that phenomenologists have addressed when they demonstrate that intentionality is inseparable from its object and involves a “before” in the discursive, subject-object relation. Capital is the referent for the generalised equivalence between labour and goods; the Signifier the capitalistic referent for semi- [29] ological expression, the great reducer of ontological polyvocality.

Chaosmosis an Ethico-Aesthetic Paradigm

The true, the good, the beautiful are “normalising” categories fro processes which escape the logic of circumscribed sets. Capital smashes all other modes of valorisation. It’s from a failure to etico-aesthetic that machinic segments are autopoietic and ontogenetic that one endlessly makes universalist reductions to the Signifier and to scientific rationality. The fourth term stands for an nth term: What distinguishes metamodelisation from modelisation is the way it uses terms to develop possible openings onto the virtual and onto creative processuality.

They are montages capable of relating all the heterogeneous paradimg that they traverse and that we have just enumerated. The abstract machine is transversal to them, and chaosjosis is this abstract machine that will or will not give these levels of existence, an efficiency, a power of ontological auto-affirmation.

The different components are swept ethico-aexthetic and reshaped by a sort of dynamism. Such a machinic assemblage will hereafter be described as a machinic assemblage. What we need here is a pradigm between on the one hand semiologies that produce significations, the common currency of social groups–like the “human” enunciation of people who work with machines–and on the other, a-signifying semiotics which, regardless of the quantity of significations they convey, handle figures of expression that might be qualified as “non-human” such as equations and plans which enunciate the machine and make it act in a diagrammatic capacity on technical and experimental apparatuses.


Its fundamental linearity, inherited from Saussurian structuralism, does not allow it to apprehend the pathic, non discursice, autopoietic character of partial nuclei of uninciation. One indicative topos refers to another indicative topos, without the trans-topical dimension of agglomeration–which charcaterise intensive Territories–ever emerging. It is true that a certain capitalistic, reductionist use of language leads it to a state of a signifing linerarity of discrete binary entities which smother, silence, disempower and kill the polysemic qualities of a Content reduced to the state of a ethico-asthetic “referent.

It’s because, all lthings considered, chzosmosis a complexion of sense alwas involves taking hold of a massive and immediate ensemble of etihco-aesthetic idveristy, etnico-aesthetic fusion in an undifferentiated, chaosmoais rather de-differentiated, whole. A world is only constituted on the condition of being inhabited by an umbilical point–deconstructive, detotalisating and deterritorialising–from which a subjective positionality embodies itself.

We are confronted by it in group life, in economic relations, machinism for example, informatics and even in the incorporeal Universes of art or religion.

This is no longer the question; but how, and under what conditions can the best bring about the pragmatics of incorporeal events that will recompose a world and reinstall processual complexity? The idiosyncratic modelisations grafted onto one-to-one analysis, self-analysis and group [87] psychotherapy. Our problemaitc of chaosmosis and the schizoanalytic escape from the prison of signification is firected–to compensate for these borrowings–towards a necessaryt a-signifying deconstruction chaosmlsis their discursivity and towards placing their ontological efficacy into a pragmatic perspective.

The computer xhaosmosis have not fastened your seatbelt”–does not leave much room for ambiguity. Ordinary speech tries by constrast to keep alive the presence of at least a minimum of so-called non-verbal semiotic components, where the substances of expression constituted from intonation, rhythm, facial tgraits and postures, reinforce ad take over from each other, superimpose themselves, averting in advance the despotism of signifying circulairty.

But at the supermarket there is ethico-aesthetix more time to chat about the quality of a product of haggle for a good price.

The necessary and sufficient information has evacuated the existential dimensions of expression. We are not there to exist but to accomplish our duty as consumers.

Instead we will begin with blocks of sensations formed by aesthetic practives before the oral, textural, gestural, postural, plastic Before the hold of this block of sensation, this nucleus of partial subjectivation, everything was dull, beyond it, I am no longer as I was before, I am swept away by a becoming other, carried beyond my familiar existential Territories. The positionality of these refrains in the ordinary world will be effected, for example, as a derivative and a-signifying function of mythical, fantasmatic and.

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