BRIAN MASSUMI A USER GUIDE TO CAPITALISM AND SCHIZOPHRENIA PDF

D in French Literature from Yale University Massumi has lectured widely around the world, and his writings have been translated into more than fifteen languages. Since , he has collaborated with the SenseLab, [5] founded by Erin Manning [6] as an experimental "laboratory for thought in motion" operating at the intersection of philosophy, art, and activism. Philosophy[ edit ] Massumi situates his work in the tradition of process philosophy , which he defines broadly to encompass a range of thinkers whose work privileges concepts of event and emergence. This is the doctrine that relations are real, are directly experienced, and create their own terms.

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D in French Literature from Yale University Massumi has lectured widely around the world, and his writings have been translated into more than fifteen languages. Since , he has collaborated with the SenseLab, [5] founded by Erin Manning [6] as an experimental "laboratory for thought in motion" operating at the intersection of philosophy, art, and activism.

Philosophy[ edit ] Massumi situates his work in the tradition of process philosophy , which he defines broadly to encompass a range of thinkers whose work privileges concepts of event and emergence.

This is the doctrine that relations are real, are directly experienced, and create their own terms. On the one hand, it examines processes of power centralization tending toward the absolutist state, which he broadly defines as fascist. Bush administration to serve as the framework for the "war on terror. He gives it the label "ontopower" the power to bring to be.

He argues that this entwinement makes the capitalist economy a direct power formation in its own right. Massumi argues that there is no position "outside" capitalist power from which to critique or resist.

The word micropolitics does not refer to the scale at which action takes place, but rather to its mode. Following Spinoza , he defines affect as "the capacity to affect and be affected. Emotion, he argues, is the interiorization of affect toward psychological expression. He locates affect as such in a nonconscious "zone of indistinction" or "zone of indeterminacy" between thought and action. The modes of experience untangle from each other to come to expression divergently, actualizing different tendencies.

In his later work, Massumi develops the concept of "bare activity" [45] [46] [47] to aid in the analysis of the affective field of emergence in which modes of activity that divergently express, for example as "mental" versus "physical,""action" versus "perception," or "rational" versus "emotional," are in what he calls a state of "mutual inclusion.

Mutual inclusion is the logic of immanence, which does not obey the law of the excluded middle. The concept of mutual inclusion in bare activity has consequences for the theory of perception. It focuses the theory of perception on the interfusion of the senses cross-modal relay or synesthesia [49] [50] and "amodal perception" experience that is not in any particular sense mode and is in that sense "abstract".

This troubles the distinction between the concrete and the abstract. It carries a sense of vitality "vitality affect" uniquely associated with the event. This supplementation of sensuous experience constitutes a "surplus-value of life. The latter is replaced by the integral event of "bodying," [61] coinciding with the "movement of thought.

It expresses and transmits affective powers that exceed cognitive apprehension. Massumi argues that affect and direct perception are not confined within a human subject, but are "transindividual" and spread across the "nature—culture continuum. In this connection, he has characterized his thought as an "extreme realism," by which he means a philosophy asserting the ultimate reality of qualities of experience, conceived as irreducible to either subjective qualia or objective properties, and as defying quantification.

The speculative and pragmatic aspects of his thought come together around the notion that specific practices can be developed to further this creative movement. In collaboration with Erin Manning, Massumi has developed a process-philosophical take on research-creation.

They advocate for an "ecology of practices" that explores how philosophical concepts formed in language can be "transduced" into other modes of experience in a way that furthers creative practice, and reciprocally, how the understanding that already imbues non-language based modes of experience can be brought to explicit expression in ways that further conceptual research.

Through this two-way exchange, they see the potential to foster the emergence of new, nonstandard modes of knowledge that exceed disciplinary understanding and normative frames of perception. His teenage years were spent in Scottsdale, Arizona , where he dedicated himself to ecological activism as part of the environmental movement of the early s. His work with local and national environmental organizations on issues of wilderness preservation and land use, clean energy, and water conservation culminated in an internship in Washington, D.

During this period, he worked within a network of anarchist affinity groups called the Coalition for Direct Action at Seabrook CDAS , [80] an off-shoot of the Clamshell Alliance , on the organization of two occupation attempts of the Seabrook Nuclear Power Plant construction site. In an influential essay, Ruth Leys [87] asserts that Massumi establishes a "false dichotomy" between mind and matter, and thinking and feeling, and disqualifies the first term of each couple.

This separates the body from subjectivity, and plays into scientistic frameworks assimilating the body to inert matter. Leys argues that this undermines intentionality and rationality, which in turn makes it impossible to account for ideology or to programmatically resist it. Margaret Wetherell argues that Massumi draws too gross a demarcation between bodily experience and social action and establishes a starkly polarized distinction between controlled and autonomic processes.

She sees Massumi imposing a "split" [91] between affect and emotion that cuts affect off from signification, leaving it merely "formless" and "outside structure.

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