Edited Issues by Lone Bertelsen
FCJ 30 Incalculable Experience, 2019
Published Papers by Lone Bertelsen
Affects, Interfaces, Events, 2021
The affect theory reader, Jan 1, 2010
Guattari's "logic of affects" is described in detail, along with a technical understanding of the... more Guattari's "logic of affects" is described in detail, along with a technical understanding of the constitutive role of what Deleuze and Guattari describe as refrains. This allows for a slightly different thinking about Politics, the micropolitical events of everyday life, and the modes of living that are possible. The role of images as refrains in the "Tampa' crisis is taken as an example, among others. An overall framework for the struggle over the distribution of affects in everyday life is provided.
Performance Paradigm, 2013
We are not in the presence of a passively representative image, but of a vector of subjectivation... more We are not in the presence of a passively representative image, but of a vector of subjectivation. (Guattari, 1995: 25) This article examines a number of Francesca Woodman's staged photographs. It proposes that the whirling body emerging in much of Woodman's work activates an 'intermediary of relations' (Ziarek, 1999: 14). Through this activation the photographs participate in the production of new individuations. The article draws on the work of Luce Irigaray, Roland Barthes, Gilles Deleuze, Félix Guattari, Brian Massumi and Bracha L. Ettinger. It sets to work a number of concepts that themselves operate in the in-between of relations. Concepts such as 'air', 'trans--situationality', 'wonder', and the 'imperceptible' are set in motion in order to engage with the creative forces emerging with Woodman's becoming with the world. The article first explores the composition of Woodman's photographs. This composition: allows the in--between to become expressive; generates wonder; and works to unground and mobilise some of our more conventional perceptual structures. Second, the article details the way that Woodman's photographs themselves operate within a larger relational register. At this point the article begins to conceive of a photo--thought that situates the photo--work as well as the viewer within an affective in-between. Woodman's photographs are thus not conceived of as passive representative images but rather as generative forces that participate in our becoming with the world.
Affect and Care in Intimate Transactions, Dec 1, 2012
Theory, Culture and Society
Lone Bertelsen in Immediation II, Edited by Erin Manning, Anna Munster, Bodil Marie Stavning Thomsen. Open Humanities Press, 2019
It seems to me essential to organize new micropolitical and microsocial practices, new solidariti... more It seems to me essential to organize new micropolitical and microsocial practices, new solidarities, a new gentleness, together with new aesthetic and new analytic practices regarding the formation of the unconscious. Félix Guattari (2008: 51) Schizoanalysis sets out to undo the expressive Oedipal unconscious, always artificial, repressive and repressed, mediated by the family, in order to attain the immediate productive unconscious. Gilles Deleuze and Félix Guattari (1983: 98)
Picture This: Media Representations of Visual Art and Artists, 1998
Subjectivity does not only produce itself through the psychogenetic stages of psychoanalysis or t... more Subjectivity does not only produce itself through the psychogenetic stages of psychoanalysis or the 'mathemes' of the Unconscious, but also in large-scale social machines of language and the mass-media -which can not be described as human.
"How might one work differently with “the intensive variation of affects” in performance? Gilles ... more "How might one work differently with “the intensive variation of affects” in performance? Gilles Deleuze discusses this question in his writing on Carmelo Bene’s theatre. Here he points to a powerful method of “subtraction”.
The article first explores the method of subtraction. It extends this notion of subtraction as a general strategy to the ethico- or politico-aesthetic. That is, it considers subtraction as an approach to ethics and politics in so far as these concern the creation and circulation of percepts and affects.
A strategy of subtraction of the Performative can lead to new potentials within performance, in the theatre and elsewhere. New worlds emerge with “the intensive variation of affects” allowed by subtraction. Yet in order to foster the emergence of such new worlds, the article proposes that subtraction encourages what could tentatively be called ‘non-performance’. With this idea, it is not proposed to abolish performance or theatre. Rather, the suggestion is that a tendency towards ‘non-performance’ would be an asymptotic tendency—a tendency that swerves away from what it approaches, the more as it approaches it.
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Inflexions
...it was decided that our ‘aesthetico-political’ event would take the form of a micropolitical r... more ...it was decided that our ‘aesthetico-political’ event would take the form of a micropolitical resistance to what Guattari may have called a ‘pseudo-scientific’ ‘enslavement’ of thought and learning.
Catalogue essay on Michele Barker and Anna Munster's participatory installation: Evasion, 2014
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Edited Issues by Lone Bertelsen
Published Papers by Lone Bertelsen
The article first explores the method of subtraction. It extends this notion of subtraction as a general strategy to the ethico- or politico-aesthetic. That is, it considers subtraction as an approach to ethics and politics in so far as these concern the creation and circulation of percepts and affects.
A strategy of subtraction of the Performative can lead to new potentials within performance, in the theatre and elsewhere. New worlds emerge with “the intensive variation of affects” allowed by subtraction. Yet in order to foster the emergence of such new worlds, the article proposes that subtraction encourages what could tentatively be called ‘non-performance’. With this idea, it is not proposed to abolish performance or theatre. Rather, the suggestion is that a tendency towards ‘non-performance’ would be an asymptotic tendency—a tendency that swerves away from what it approaches, the more as it approaches it.
"
The article first explores the method of subtraction. It extends this notion of subtraction as a general strategy to the ethico- or politico-aesthetic. That is, it considers subtraction as an approach to ethics and politics in so far as these concern the creation and circulation of percepts and affects.
A strategy of subtraction of the Performative can lead to new potentials within performance, in the theatre and elsewhere. New worlds emerge with “the intensive variation of affects” allowed by subtraction. Yet in order to foster the emergence of such new worlds, the article proposes that subtraction encourages what could tentatively be called ‘non-performance’. With this idea, it is not proposed to abolish performance or theatre. Rather, the suggestion is that a tendency towards ‘non-performance’ would be an asymptotic tendency—a tendency that swerves away from what it approaches, the more as it approaches it.
"