Overview and details of the sessions of this conference. Please select a date or location to show only sessions at that day or location. Please select a single session for detailed view (with abstracts and downloads if available).
Please note that all times are shown in the time zone of the conference. The current conference time is: 7th Dec 2022, 11:16:43am CET
Deleuze and (Post-)Media: from a Global Perspective
2:00pm - 3:30pm
Session Chair: Martin Charvát
D&G and (Post-)Media: from a Global Perspective
'Minor technologies' and 'fabulating opacity'. Glissant, Deleuze and Guattari on biases in Artificial Intelligence
University of Vienna, Austria
“[G]iven a concrete face, the machine judges whether it passes or not, whether it goes or not, on the basis of the elementary facial units.” (Deleuze/Guattari) What Deleuze and Guattari wrote in A Thousand Plateaus on faciality, can be read today as a description of the mechanics working in and the biases produced by face recognition algorithms. It is the non-essentialist understanding of technology by Deleuze and Guattari that enables not only an important critique of facial-recognition and other AI-driven technologies, but that also points to possibilities for resistance and other ways to read and use AI and the produced biases.
In this paper, by drawing on the deleuzo-guattarian concept of “minor literature”, I want to explore the possibilities of critically reflecting on the biases of such AI-technologies as facial recognition and ask in which assemblages what kind of hegemonic technologies can become what I want to call “minor technologies” and how these minor technologies are related to political articulation, resistance and current political struggles. I will argue that the expansion of a deleuzo-guattarian philosophy of technology with and through the concepts of creolité, toute-monde and opacity by the carribean poet and philosopher Éduard Glissant enables not only a critique of the colonial history of such biases and technologies, but also opens up new ways to work with these technologies in art as well as political struggles. Following Glissant’s plea for opening the “truth of the machine” to the unpredictable through poetics, I will argue for what I call a “fabulating opacity”.
Becoming (with) data
Lithuanian Culture Research Institute, Lithuania
Expanding the conventional notion of migration, it occurs not only when individuals move onto actual territories, but digital too. Needless to say, re/de/territorization is inseparable from a reconfiguration of subjectivity, which is particularly the case were we to think about the outlined in Deleuze’s “Postscript on Societies of Control” (1992) transformation of the individual into the dividual. Is this transformation, following Foucault, synonymous with “the death of the subject” (sujet) qua the death of agency? Or, on the contrary, is the facilitated by modern technologies escape from in-dividuality (unity, seeming self-sufficiency, coherence) opens up new venues for radically different cultural, social, and political assemblages?
Deleuze himself saw the digitalization of society (which he called “the society of control”) as a symptom of a new form of capitalism, capitalism “with a soul”. For him, what I conceptualize in this paper as “becoming data” (subject’s migration onto digital territories, dividuality as the form of subjectivity) was not “becoming” in the strictest sense of this word, since, at least the way he might have seen it, it did not contribute to the liberation in/from the oppressive systems of control. Could we say that Deleuze was right, after almost 30 years passed?
This paper will examine two possible perspectives to view “becoming data”. The first, built upon Deleuze’s observation on “societies of control”, will critically look at the nexus between digital media, data, and capitalism. The second, however, will attempt to explore the potential of “immanent resistance” through becoming (with) data.
Affective cracks & subjective compositions
AGI (Art, Globalization, Interculturality), University of Barcelona
The environmental, social and political crises that define our contemporary world can be considered as a result of the generalization of a subjectivity manufactured by capitalism enclosed within the axiom of economic benefit, in which the values of alterity, singularity and difference reduced to the bare minimum. In order to counteract this homogenization and impoverishment of modes of being, Félix Guattari develops his «ecosophy» as an analytical and methodological perspective concerned in mobilizing a «pragmatic of existence» across three registers: the environment, the socius and the psyche. In his ethical-aesthetic project, artistic practice plays a crucial role insofar as it holds a potential to transform our sensibility and at the same time it becomes a catalyst, a vector, a machine at work in the production of subjectivity. In my presentation I will first scrutinize the elemental ecosophical and geophilosophical concepts that inform guattarian ethical-aesthetical paradigm. Second, I will map the affects and the percepts of situated research-based projects by artist Tue Greenfort that account for the immanence of relations between biosphere, sociosphere and tehcnosphere. Drawing on these cartographies, I will discuss in what way affective assemblages are capable of short-circuiting homogenetic territorializations and recompose heterogeneous existential formations. By examining its critical and affirmative developments, I will finally argue for a conceptualization of art understood as a politics of experimentation and an ecosophical pragmatics that enables new ways of thinking, feeling and actualizing the infinite possibilities of life.