12. juli 2014 § Skriv en kommentar

Such strange worlds… at conferences in Osaka (Japan), Iasi (Romania) and Istanbul (Turkey), I find practitioners and scholars often expressing such scepticism towards the other (unknown) party. And yet, everybody stays loyal to terms of openness, otherness, sensitivity and milieu… Well, well… How to create rapport, in the old fashioned sense of ‘connection’?

Paper for Deluze Studies Conference, Istanbul, Turkey, July 14-16th 2014

12. juli 2014 § Skriv en kommentar

For thousands of years, in all kinds of worlds, the art and practice of handcraft has continuously played a part in peoples everyday lives. Handcrafting is the art of becoming-imperceptible through monotonous and restrained steps – etymologically, monotonous refers to the tension or stretching of a single string, which is exactly what knitting, weaving, crocheting, sewing etc. is all about. Such monotonous indulgence might produce a state of inertia and is often described as akin to spiritual practices or experiences of Void. Exact techniques, repetitive movements, microscopically clicking sounds and sensuous materials – intertwining within an archipelago of raising and fading murmuring voices. As such, handcrafting might assemble and affirm what Deleuze termed “stationary journeys”. It opens up territories of silence, fabulation and involutive stretchings, producing “individuations without a ‘subject’”. But why, why insist on the possibility of such collective becomings-imperceptible?

In Scandinavia, the quest for a ‘mindful being’ has gone haywire. In order to deal with surroundings of incessant stimuli, people withdraw to isolated spaces of solitudes longing for inner peace and re-balanced burned-out nervous systems. This desperate desire for ‘absence of speech’ and ‘neutral, unlimited awareness’ creates an array of techniques that individualize those sufferings created through neoliberal machines – techniques that dance on a kind of surface that always implies an underneath or foreseeable, self-reflected position. What is at stake is an incessant desire for movement and for being moved. And this subject of the identity-forever-in-flow suffers from stimuli overdose. Hence, new existential questions arise from this ’neuronal paradigm’, disrupting the Discipline of Psychology that rely so heavily on dialogue and identification. What if nothing outlines me and movements have moved me too much? What if living is stuck as “hardened empty envelopes”? What if I don’t want to express MySelf to you, but rather imperceptibly blend into collective doings?

What I wish to address is the possibility of a Deleuzian surface when it comes to therapeutic settings. Do we have to face each other? Do we have to take turns talking? Do we have to ‘express ourselves’? In order to experiment, we need to acknowledge contemporary claims of states of inertia, of stuckness, of desire for Absence. In other words, how a body without organs might unfold as “a molecular process into a black hole”, how a line of flight might be caught up in self-destructive machines. How to respond to states of burn-out or depression, the sufferings of too much open-ended-ness? “Experimentation is involutive, the opposite of the overdose”, Deleuze wrote. In line with this, handcrafting will collectively and positively affirm the event of inertia as pure event, as Void, in the sense of a Blanchotian Midnight. Affirming those stationary journeys at midnight – that fullness of being in dark, daily moments of nothingness. An involutive stretching of the string.


19. juni 2014 § Skriv en kommentar

I søvnens fald, gå ikke ind i min mave, spræt ikke op, giv mig ikke koldsved, forrådnelse, svimmelhed, giv ikke så generøst disse forknytte skygger ly i mit svælg, giv ikke drift til at dø, væk mig i stedet med dit åndedrag, vis dig mens du sover


29. april 2014 § Skriv en kommentar

for all we know, Bent Otto vandrer i gaden, og der er kun gaderne, graa gader, her hænger tankerne i ingenting og længslerne på porte der aldrig går op, og der er kun gaderne, for all we know, for Bent Otto starter dagen aldrig mens livet ingen ende vil tage, det er gadernes forbandelse, det er det evige liv der har tag i én, det har ingen ende og Céline, for all we know, Céline, this may only be a dream og man vil ikke gøre en ende på det, længslerne sidder stadig på porten, dér! gik den ikke op igen og ud kom ingen, kun damer, damerne går ud og ind og Bent Otto mærker damernes ansigter i sit, damernes pudder på næsen og læbestift på tænderne er hans og Célines hænder er der kun for alle hans ansigter, timevis af hatte, det er hende der gør det, det vil ingen ende tage på og tage af og på sned og hendes blik endelig på så meget andet end hans øjne, kindben, kulør & kontur, i Célines hænder bliver Bent Otto verdens største krop, det har ingen ende men bunker af pudder, skægstubbe og bankende hjerter, for all we know, Bent Ottos ansigt ville blive helt væk hvis hun tog det i sine hænder, gaderne graa og en andens


31. marts 2014 § Skriv en kommentar

Hermed link til min artikel “Monstrøsitet” – om præstationssubjektets sanselige længsel, adresseret gennem Jacques Derrida og Gilles Deleuzes terminologier og tænkning. Udkom i august-nummeret (2013) af Avis Venire, udgivet af konsulentvirksomheden Villa Venire.

Click to access monstroesitet.pdf

(this article is in Danish!)