subjectivity line of flight

Adrian Parr, ed (2005), The Deleuze Dictionary, Edingburgh Univesity Press: Simon O’Sullivan, ‘subjectivity + Art’ pp270-272;Tamsin Lorrain, ‘Lines of flight’, pp 144-146; Adrian Parr, Lines of flight +Art + Politics’, pp.146-148

This text is all about Self production. It is a tool for challenging thinking.  It is about new ways of seeing with an outside, we can open up new universes of reference through materials, expression, groups and individuals.  It is a way of thinking outside hegemonic trappings, breaking through barriers finding new ways of thinking and breaking away from habits and unfolding and unpacking these forces. Displacing the normal, unfolding fascistic social organisations.

This text is about: the process of preparing for and forming art that influences and informs people's judgments about truth or reality.  He proposes such ideas as strategies or processes towards a reconstruction of social and individual practices of ecosophy (ecological philosophy)

Deleuze’s neologalisms:

Art as effective systems of change.

Wildly Destratify

Resingularisation – reconfiguring subjectives

The Beach- materials of expression.

Lines of flight: lead somewhere and can return

Construction and production of subjectivity.

Rupture/’immanent aesthetic’  - the gap between stimulas and response, the pause between action and reaction. This pause allows a certain amount of freedom and the possibility for a more creative response to the world. And can be a technological process of self production.

Atypical V non-ordinary

Mechanic assemblage – ie the paper/print/binding,words/feelings and the turning of pages of a book.

Collective assemblage of enunciation - A shared act/set of objects that define something clearly.

Minoritarian forces: standard terms

Majoritarian lines: transforms any notion of the standard.

Symbolic gesture

Subjectivities: feelings tastes and opinions.

Rhizomic friendship: joyful encounters,

Imminent aesthetics: a pause between action and reaction, the rupture a pause of contemplation.

Ecosophy: Deleuzian framework of social interconnections with the environmental spheres between culture and systems, human subjectivity, the environment and social relations which are all interconnected.
Destratify: to undo or un-arrange a strata, to re-arrange or re-classify something that is well defined. to alter the form or arrangement of something.

Orienting subjectivities: sustaining an impersonal reality that allows pre-individual singularities to structure and collectively to orient subjectivity. Ie maintaining exclusion of personal feelings of the work by the artist/creator to allow and open up other peoples subjective views to own the work.  For the artist to sustain an impersonal reality to their work, allows others to orient their own subjectivity and mutate their own dimensions to the work. From a curatorial perspective, this explains why galleries sometimes choose not to have explanations of the artwork. It is a pragmatic approach and avoids misunderstandings of statements and political prods.

Processual self-creation

The reconfiguring of subjectivities through involvement of materials or expression open up new ways of seeing in the world.

LaBorde clinic: is a psychiatric clinic that opened in 1951, near the town of Cour-Cheverny in the Loire Valley of France. The clinic was established with the goal of becoming everything the word "asylum" once meant: a shelter, a place of refuge, a sanctuary. Still in operation today, La Borde has been a defining model in the field of institutional psychotherapy. It is an innovative psychiatric clinic where patients are liberated to actively participate in running the facility. To encourage new relationships and experiences.

Community art/rhizomatics of friendship (p270):

An encouragement to be involved, to participate in ones own processual self-creation.. a psychotherapy language for community participation.  The winch bow, cine-boat are interesting frameworks for thinking about producing communities and subjectivities for self creation through joyful encounters. Involving a coming together that results in an increasing concomitant capacity to act in the world. That produces an understanding of ones self in the world, and an overcoming of one’s separation from the world.  A striving to capture existence in the very act of a set of rules that establish and definesomething, definition and deterritorialisation.

The aesthetics of the cine-boat and winch box speak to fisherman, and people who have nautical interests. And acts as a rupture in dominant regimes to produce possibilities for re-singularisation. Does the cine-Boat and winch box allow access to a kind of immanent beyond the everyday – perhaps the ritualistic aesthetic function of art. Enlivening the social field. Exhaustion – old exhaust pipes., erotion.

“We generate unexpected encounters in unusual magical ways. We rupture”.

Destratify : A pond's condition deteriorates when the bottom environment cannot support animal life. The bottom is the area that runs out of oxygen first, it is where the most oxygen is used, and it is the farthest from the surface where it is replenished. Without oxygen a lake or ponds self-purification capability is not only reduced, it is reversed. The small animals, snails, worms, bacteria, etc., which help keep a pond clean cannot live, and the pond's nutrients are then recycled from the sediment. This forms a layer of muck at the bottom which serves as a fertilizer for weed and excessive algae growth. It can also cause large fish kills.

In relation to destratify- The quality of my life deteriorates when art does not support my life. Art is my sustenance, and this supply of sustenance is the furthest away from the surface of body. Without this special sustenance I do not have self-purification capability (my nutritional imagination can not grow fully and become fertile sediment).

Deterritorialization always ends in reterritorialization and needs a territory to operate in.

Where is the territory of my work?

In The Three Ecologies (social ecology/mental ecology/environmental ecology)  he says “there is at least a risk that there will be no more human history unless humanity undertakes a radical reconsideration of itself”. These three ecologies not only present as sites of negotiation and reconstruction, but also in Guattari’s parlance as interchangeable lenses or styles. They are not distinct territories but formed relationally and transversally.  Creativity evolves in connection with leading somewhere else and returning back (line of flight) like using a map to go somewhere unkown and returning back to the place you started.

Lines of flight Tamsin Lorraine:

‘Fuite’ = a flowing from the real to the virtual, a leaking a disappearing into a distance, the vanishing point in a apinting. A flow of ideas that deign to connect to other ideas, thought flows into the supplementary dimension.

Ie- For me, There is a flowing from the real to the virtual when reading submission proposals with a creative collaborator.  Working with another person, the proposal becomes a collective assemblage of shared acts and lines of flight, ideas and inspirations, and become a synergy.

Resingularisation, for me, is the expansion of new experiences and relationships that act as a re-creation of the self. Studying, readying, writing, using materials on the beach, submitting proposals, moving away from paintings.  That expand ways to embrace, strengthen and improve my attitudes in positive ways towards human physical and psychological defects, flaws imperfections not as weaknesses but as features and qualities and details that stand out as valuable enchantments and traits and attributes to life and its authenticity. 

Where imperfections and defects are seen and felt as positive valuable enchantments, distinguishing features, traits and attributes to life’s substance and its authenticity, rather than a negative lacking in something, or as a fundamental weakness.

Rupture: Something that transforms man through seeing- being struck by something or confronted with something unthinkable within thought. Something that becomes stronger within the image (like the Barthes Punkton). An intense moment of sublime experience, a romantic intensity that pushes thought to its extreme limit, a great force of distinction.

Characterising an assemblage through Molar/Molecular and line of flight

These three lines can co-exist and change into one another/integrating themselves into segments/nomads/

1. Molar line: binary forms. Two forms integrating together that turn into something that becomes art. (P145 roman empire) during the process of thinking about practice.

2. Molecular Line: fluid through segments

3. Line of Flight: ruptures. The piece of work can evolve into creative metamorphosis of the assemblage.

4. Line of destruction: dangers of transformation in the social field becoming ineffectual. Rather than A shared act/set of objects that define something clearly.  Where there is a prod at the viewers sensibilities unintentionally insulting.

Creative mutations – something that evolves that is an inversion of its past.

Unfolding forces- assemblages or multiplicities that affect and can be affected rather than staying as a static essence.

Lines of flight + art + politics Adrian Parr.

His questions: how can politics condition art and how do we gauge the political force of art?

Is it in what the art doesn’t show us, curator, critic, client, artist, madman, spectator, exotica, erotica, insanity, consumerism, history and value.

Politics in art act as a rupture, the piece of work that can evolve into creative metamorphosis of the assemblage. That pushes and traverses, individual and collective feelings, tastes, opinions and centralised organisations to the limits, whilst at the same time temporarily these subjectivities unite and exchange in accordance to the work.  Art enables us to broaden our horizons and understanding, sanitising us to our own affective dimension in relation to the world as a whole.  It also warns us that the social sphere is on the verge of becoming fascistic. D&G insist that when desire turns repressive it finds investment in fascistic social organisations

Deleuze says Art produces new paridigms of subjectivity. Meaning art produces new models and methods to influence opinion. Art has the potential to create conditions to make connections and combine ideas socially, linguistically, perceptually, economically conceptually and historically.  It also has the ability to insult other cultures unknowingly. Comparing experiences of the work is important. Do I as an artist want to prod at someones (fishermens) sensibilities? It is important to consider having my work critiqued by other cultures and social groups before it goes public.

What connections and combinations of the above, can I make with the Winchbox?

What colour, sound, mediums, sensory. and textural combinations, what is it documenting and in what form is it documenting? How does it prompt us to think differently in unpredictable ways?  How does it generate new perceptions ?

What is the political potential of the art? Ie what are the changes they invoke? Does it dismantle conventional ways of thinking and acting, stimulate upheaval, loosen up rules and orders that organise individuals and social bodies?