Deleuze and Guattari’s Thousand Plateaus includes some useful concepts to understand technologies and their relations to humans as individuals and as a society. This article provides an introduction to their notions of machine and becoming and places them in the context of technological use in general, with a special focus on the cellphone. The concept of machine exceeds the technological context, yet it can be still relevant to technologies, especially digital ones. The concept of becoming assists in better understanding co-shaping (...) processes in which a technology and its users change in tandem. Becoming is analyzed as a set of five characteristics: [1] transduction, a change process in both the user and the technology; [2] rhizome, no starting or end point; [3] molecularity, small movement or change that can create a big difference; [4] partial simulation, creating a non-identical copy; and [5] anti-memory, forgetting the past. Based on this analysis, the concept of becoming-mobile is introduced as a new way of understanding the interrelations between humans and their cellphones. Becoming-mobile can be further developed either with Deleuze and Guattari’s own concepts such as nomadicism or with “external” concepts such as postphenomenology’s embodiment and new mobility studies’ virtual mobility. Machine, becoming, and becoming-mobile address some basic questions in philosophy of technology, thereby enabling us to refer to Deleuze and Guattari as philosophers of technology. (shrink)

This essay focuses on the possibility of adopting a representational approach for technoscience, in which representation is considered as a situated process of dynamic “intra-action” (Barad 2007 ). Re-elaborating the recent critiques of representationalism (Thrift 2008 ), my analysis begins by analysing Hayles’s situated model of representation from an early essay where she explains her definition of constrained constructivism (Hayles [ 1991 ] 1997). The essay then discusses the notions of figuration and diffraction and the way they are employed by (...) Haraway in many of her writings for her critique of technoscience (Haraway 1991 , 1997 ). Finally, after considering diffraction through Barad’s reading of this practice in the context of her theory of agential realism ( 2007 ), it shows the links that relate constrained constructivism, situated knowledge and agential realism, and the way all of them work at “diffract[ing] the rays of technoscience” (Haraway 1997 : 16) through an alternative representational practice. (shrink)

Feminist philosophy has offered mixed opinions on the collaborative projects of Gilles Deleuze and Félix Guattari. But although there has been much discussion of the political expediency of what Deleuze and Guattari do say about sexual difference, this article will outline what is absent fromAnti‐OedipusandA Thousand Plateaus. Specifically, I will argue that though Deleuze and Guattari offer a historical account of a range of power structures—most notably capitalism, but also despotism, fascism, and authoritarianism—they give no such account of the development (...) of patriarchy. Secondarily, this article will argue that Deleuze and Guattari's analysis of contemporary power relations could be improved by adding an accompanying analysis of the institution of patriarchy. After offering a detailed account of the technical vocabulary used by Deleuze and Guattari for the analysis of political institutions, I will argue that what their work requires is an account of how patriarchy is historically produced by an “abstract machine” of masculinity. This article will finish with some suggestions for the way that such an account could be given via an analysis of the abstract machine ofphallusization. (shrink)

This article explores the possibilities of considering how ‘matter and meaning are mutually constituted’ in the production of knowledge (Barad, 2007: 152) through presenting a diffractive analysis of a piece of interview data with a six-year-old boy in a preschool class. Inspired by Donna Haraway’s (1997) and Karen Barad’s (2007) theorising, I understand diffractive analysis as an embodied engagement with the materiality of research data: a becoming-with the data as researcher. Understanding the body as a space of transit, a series (...) of open-ended systems in interaction with the material-discursive ‘environment’, diffractive analyses constitute transcorporeal engagements with data. Stacy Alaimo’s (2010) theorisation of the transcorporeal is put to work diffractively with Gilles Deleuze and Felix Guattari’s (1987) thinking on the process of becoming minor or minoritarian. This implies a reconceptualisation of the very act of thinking as a transcorporeal process of engagement, going beyond the idea of reflexivity and interpretation as inner mental activities taking place in the mind of the researcher understood as separated from the data. Through my example, I argue that diffractive analysis can make visible new kinds of material-discursive realities that can have transformative and political consequences. (shrink)

This essay begins to develop a philosophical interpretation of Elena Ferrante's L'amica geniale, a work of fiction that is known in English as The Neapolitan Novels. My ultimate aim is to explore the work's ambitious moral psychology, and particularly its subtle conceptualization of women's path to freedom. I begin by reconstructing some of the main ideas of Italian difference feminism as they are expressed in the texts of the Milan Women's Bookstore Collective—texts that are controversial milestones of Italian social theory, (...) yet are relatively unknown outside of Italy. I then show how these ideas provide a useful frame of reference for interpreters of Ferrante's novel. This discussion sets up a more extended analysis of the special status of Lila Cerullo, her strange condition of smarginatura, and the import of her puzzling earthquake speech. (shrink)

The essay reads as a moment of alliance – a moment of reading of two disparate things together. The event of alliance remains inspired by Gilles Deleuze's theorisations of becoming. This marks the coming together of unrelated things – one into the fold of another – without being subordinated in the process. It reads an anime, Kiki's Delivery Service, with Deleuze and Guattari's writings on ‘the girl’ – where the girl represented as ‘real’ in a fantasy meets the girl written (...) as a metaphor in a theoretical intervention. This inflicts a sense of violence, of abstraction, to both the figures of ‘girl’. On the one hand, Miyazaki's work, removed from the discourse of anime, is placed under a feminist scrutiny, while on the other hand, Deleuze and Guattari's notion of the ‘girl’, extracted from the logic of the original texts, is reinserted into feminist renditions. The two readings are coordinated by a specific intention. This is to imagine the feminist potential of the ‘girl’. Occasionally the two works appear to talk to each other, yet sometimes they stand incommensurable. The texts animate each other without being subsumed by each other – inhabiting and following the movements to trace the other as fields of singularities which cannot be reduced to fixed identities or parallels. This transversal act of reading does not aim at coercing the Deleuzian notion of the girl upon Kiki, but rather looks forward to the conversations generated between the two narratives. (shrink)

This paper explores the changing feminine subject of feminism by investigating women's sexual daydreams. Described by Rosi Braidotti following Luce Irigaray as the ‘virtual feminine’, and by Teresa de Lauretis as the ‘space-off, the feminist subject is a mutating configuration embodying that which is not colonised from phallogocentric representations. Following Frigga Haug's work on daydreams, the paper is informed by a study that draws on responses from nineteen women in a university setting to an anonymous online survey that asked them (...) to write a daydream about how they would like to express their sexualities in an ideal world. The data reveal that these women of the new millennium imagine spaces of gender/sexual equity, characterised by a spirit of sexual adventure and ethical and emotionally intimate sex. I argue that these sexual imaginings are more progressive than earlier ones, filling in some of the details omitted from contemporary hegemonic representations of feminine sexuality. Arguably providing a snapshot of the feminist subject in its ongoing historical metamorphosis, the paper considers the meaning of these transformations. (shrink)

Recent feminist theorizing has pointed to a `resurgent patriarchy' within neo-liberal postfeminist times, which re-orders and restabilizes the heterosexual matrix through a politics of `postfeminist masquerade' demanded of girls and women (McRobbie). This paper seeks to complicate this thesis, exploring the regulation and rupture of Butler's `heterosexual matrix' as a complex performative politics through which girls' conflictual relationships with themselves, and other girls and boys are staged and through which dominant versions of tweenage and teenage femininity are reinscribed but also (...) reworked, in race and class specific ways. Drawing on Deleuze and Guattari's powerful conceptual repertoire for disrupting Oedipal logics in Anti-Oedipus, we offer a `molecular mapping', illustrating cracks and ruptures in what is a porous heterosexual matrix, exploring a rhythm of `deterritorializations' and `reterritorializations' of the normative in our respective ethnographic and narrative interviews with girls. We also trace more sustained ruptures of heteronormative femininity drawing upon Deleuze and Guattari's notion of `lines of flight' and Braidotti's concept of `alternative figuration'. We argue ruptures and alternative figurations are not constitutive of total `molar' resistance to norms, but are significant spaces of doing girl differently and crucial to map if we are to perceive the malleability and multiplicity of contemporary girl subjectivities, which exceed heteronormative femininity and phallogocentric desire. (shrink)

The attempt to rearticulate traditional conceptions of nature can be both a useful strategy and a stumbling block when it comes to feminist examinations of continuity between the objectification of women’s bodies and the domination of nature. This paper contributes to existing debates by providing a critique of what I term the “duality view” of nature: a view stipulating that nature is primarily characterised by a stable sexual duality, and advancing that the objectification of women’s bodies arises because the specificity (...) of “femaleness” is ignored and duality is therefore neglected. I focus, specifically, on Alison Stone’s interpretation of Luce Irigaray, insofar as the account emerging from Stone’s interpretation clearly outlines the principles that most versions of the duality view should endorse. I problematise this account by showing that it becomes inconsistent with the critique of objectification which grounds it in the first place. I conclude by advancing that, overall, a view insisting on a natural sexual duality because of normative reasons conflicts with the feminist considerations at its basis. I also suggest that while the present analysis is primarily condemnatory, it can contribute to the development of feminist philosophies of nature by fleshing out avoidable pitfalls. (shrink)

This article reads Monique Wittig's Le Corps lesbien through Deleuze and Guattari's concepts of le corps sans organes and devenir-femme, devenir-animal in order to illuminate both Wittig's formal and figurative concerns and her larger literary objectives. The dismembered and dismember-ing lesbian lovers that Wittig describes in Le Corps lesbien illustrate a process of becoming-woman, becoming-animal and becoming-other that leads to a becoming-minoritarian and a renunciation of stratification and subjectification in the body without organs. This process is a celebration of dispersed, (...) multiplicitous identity that exists in haecceities. Wittig's lesbian lovers undergo various becomings in the text to illustrate the multiplicity of possibilities as they move towards the BwO, and the text as a whole uses this BwO to resist and dismantle the hetero-patriarchal order. (shrink)

Modern feminist movements run the risk of being appropriated by capitalist agenda and commodified for mass appeal, thus stripping them of their revolutionary potential. I would propose that in order for feminism to challenge this, movements may want to consider the subversion of subjectivity. Deleuze and Guattari's notions of becoming-animal and becoming-woman emphasise a subjectivity not confined by rigid identity, such as man/woman. However, feminists have challenged this theory, suggesting it is difficult to both fight for and dispel the very (...) same notion, that is, woman. I argue that in first considering the feminine subject via the Lacanian understanding of ‘Woman’, it can be argued that feminine subjects can engage with becoming-animal to destabilise the notion of ‘Woman’. Riot Grrls, FEMEN and Pussy Riot all demonstrate tactics which could be said to utilise becoming-animal and have had varying success in avoiding commodification. (shrink)

Luce Irigaray classically challenges what she takes to be the masculine foundations of knowledge in Western liberal culture. The present article contends not only that this epistemological challenge implicates a radical feminist politics, but that it is also more helpful in formulating a multicultural feminist theory than is often acknowledged by her readers. This is because her account responds to the false neutrality of liberal feminist approaches to multiculturalism. It does so by supporting, at the socio-political level, transformative genealogical practices (...) that are aimed at fostering women's agency in culturally sensitive ways. However, Irigaray's recent work on multiculturalism does not sustain the necessary continuity between her core epistemological critique and her political claims. In particular, the continuity between her criticism of the West's sexual indifference and the cultural multiplicity of female identity becomes problematic in her recent work. The author finally contends that Irigaray's writings pose difficulties for a multicultural feminism, because they fail to specify the different forms of policy necessary to promote diverse women's equality in the postcolonial contexts on which she recently focuses. (shrink)

This paper argues that current iterations of lesbian, gay, bisexual, transgender and intersex rights are limited by an overreliance on particular representations of sexuality, in which homosexuality is defined negatively through a binary of homosexual/heterosexual. The limits of these representations are explored in order to unpick the possibility of engaging in a form of sexuality politics that is grounded in difference rather than in sameness or opposition. The paper seeks to respond to Braidotti’s call for an “affirmative politics” that is (...) open to forms of creative, future-oriented action and that might serve to answer some of the more common criticisms of current LGBTI rights activism. (shrink)

This article considers the academic writings and activism of the major Continental feminist philosopher Rosi Braidotti against the background of the growing religiously and racially biased anti-immigration sentiment in Europe. Special attention is paid to Braidotti’s recent response to the post-secular turn in feminism. The article contends that Braidotti’s work highlights and embraces the destabilising structural effects the intensified migration flows have on European identity. It argues that Braidotti charts new models of European subjectivity that would facilitate mutually affirmative and (...) trans-formative relationships between those (self-)perceived as Western feminists and those positioned as immigrant women. (shrink)

This article takes as its point of departure Luce Irigaray'sElemental Passions, in which a woman‐speaker tries to make her lover and the discipline of philosophy understand that she is not how they have imagined her to be; that she is not at all but that she keeps becoming through perpetual movement. The article investigates Irigaray's investment in a form of materialist difference feminism that offers conceptual links to the posthumanist work of Karen Barad's agential realism, especially her theorization of intra‐action. (...) The link between Irigaray and Barad is established via a diffractive reading that incorporates the dance/movement research practice of Contact Improvisation. Although expressed through written language,Elemental Passionscreates the impression of the woman‐speaker dancing, of encountering herself, her environment, and her lover through moved and moving contact, searching for a practice of moving‐together, feeling‐with, and feeling‐between that can be experienced in an improvised dance duet. Exploring how touch and the sharing of weight in Contact Improvisation challenges boundaries and establishes ever‐changing configurations and entanglements between dancers, the article proposes that Irigaray's woman‐speaker envisions herself as a posthuman/ist woman and that improvised dancing offers a practice of intra‐action through which she can encounter the world in her becoming. (shrink)

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of the (...) values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

ABSTRACT This article discusses the Celtic myths, figures, and central themes of Tomm Moore’s animated movie Song of the Sea, from a transmodern feminist perspective. While the movie offers a vivid portrayal of the dichotomy between the tranquil Irish countryside and the turbulent city of Dublin, its main theme revolves around a rural family’s lament for the loss of the mother who is a modern-day personification of the Celtic selkie. This curious female figure embodies contradictory characteristics: she is semi-human and (...) at the same time a mother and a wife who, in struggling with her in-between state, leaves her family and returns to her mythical roots. By focusing on several of the Celtic mythical figures and central themes of maternal loss, motherhood, gender relations, and family reconciliation, I attempt to show that the movie’s transmodern echoes and concerns suggest that alternative family formations and changed gender roles are possible in Irish society and in the world more generally. (shrink)

This article combines in-depth interviews and Karen Barad's work on materiality to think about the ways in which the materiality of blood might be understood in relation to sociality and blood-borne virus prevention among BDSM (bondage and domination, dominance and submission and sadomasochism) body modification practitioners in Sydney, Australia. In doing so, it confronts questions of how the materiality of blood can be theorized in ways that neither presume a fixed, a priori ontological status or essence, nor exclude it from (...) an active role in the production of realities. In taking account of both its co-constitutive role in practice, and its figurative power (as flow) in understanding the mind/body, discourse/materiality conjunctions at work in BDSM body modification practice, we aim to illuminate further the imbrication of materiality and meaning, and generate a more complex and fruitful account of blood for the purposes of blood-borne virus prevention and education. (shrink)

This article explicates the meaning of the paradox from the perspective of sexual difference, as articulated by Simone de Beauvoir. I claim that the self, the other, and their becoming are sexed in Beauvoir’s early literary writing before the question of sexual difference is posed in The Second Sex (1949). In particular, Beauvoir’s description of Françoise’s subjective becoming in the novel She Came to Stay (1943) anticipates her later systematic description of ‘the woman in love’. In addition, I argue that (...) the different existential types appearing at the end of The Second Sex (the narcissist, the woman in love, the mystic, and the independent woman) are variations of a specific feminine, historically changing paradox of subjectivity. According to this paradox, women, in a different mode than men, must become what they ontologically “are”: beings of change and self-transcendence that have to realise the human condition in their concrete, singular lives. My interpretation draws on Kierkegaardian philosophy of existence, phenomenology, and early psychoanalysis. (shrink)

Straipsnyje analizuojama seksualinės skirties sampratos transformacija Luce Irigaray filosofijoje. Straipsnio euristinė schema – esencializmo-konstruktyvizmo kontroversija giminės filosofijoje. Ja remiantis teigiama, kad ankstyvoji Irigaray psichoanalitinė seksualinės skirties samprata ir mimesis kaip moteriškosios subjektyvybės steigties būdas atitinka tik „strateginį esencializmą“, o transformaciniame filosofijos etape, ginčijant Hegelio subjekto paradigmą, Irigaray pateikta natūralistinė seksualinės skirties samprata jau implikuoja ontologinį esencializmą. Taip pat į analizę įtraukiamas Irigaray nenagrinėtas Hegelio giminės tapatybės principas, kuris implictiškai apima lyčių diferenciacijos aspektą. Tuo siekiama ne tik atskleisti Irigaray moteriškosios subjektyvybės (...) sampratą, kuri apima moteriškumo neredukuojamumą į reprodukcijos funkciją, vyriškosios ir moteriškosios subjektyvybių nebendramatiškumą, bet taip pat išryškinti giminės tapatybės ir seksualinės skirties kontroversiją kaip dvi skirtingas subjekto filosofijos paradigmas. (shrink)

According to the biomedical model of medicine, the subject of the illness event is the pathology rather than the person diagnosed with the disease. In this view, a body-self becomes a ‘patient’ body-object that can be enrolled in a therapeutic protocol, investigated, assessed, and transformed. How can it be possible for cancer patients to make sense of the opposite dimensions of their body-self and their body-diseased-object? Could a creative embodied approach enable the coping with trauma tied to the experience of (...) illness? By applying a phenomenological approach and auto-ethnographic analysis to the experience of cancer, this visual exploration provides support for rethinking the cancer event through a performative perspective. This work previews images and video material collected over ten years of haematological treatments, video dance performances and physical explorations. This work displays how processes of healing can be set in motion by creative embodied practices, physical explorations and unexpected journeys. By resisting the biomedical model and allowing the emergence of new meanings, it illustrates how dance and performative practices offer ground for transformation. (shrink)