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Anna Dezeuze

‘noble’ forms.85 According to Jouannais, 247 248 The light years, 1991–2009 Walser thus defied both the stupidity of the bourgeoisie and all pretences to ‘intelligent’ art, thereby maintaining a deliberately marginal position. According to Gilles Deleuze and Félix Guattari, minor literature involves shifting territories through ‘deterritorialisation’, and finding ‘means’ to express another ‘sensibility’ that has yet to come into existence.86 Likewise, Lynne Cooke, in her introduction to the catalogue for a series of exhibitions inspired by Walser (at the Donald

in Almost nothing
Marc James Léger

labour politics, but so that ‘the reader and listener will be able to find in them new-born the experience of a reading,’ ‘shifting from the guttural enunciation of the voice and physical manifestations between artworks and the public.’ 16 In other words, what Enwezor was proposing was a Rancièrian ‘distribution of the sensible’ of the Marxist corpus. This was less a call for organisation around leftist parties and labour unions, and more an aesthetics that reflects the deterritorialisations caused by twenty-first century global capitalism, as described for instance

in Vanguardia
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Post-Troubles contexts and contradictions
Declan Long

inform the terms of the Good Friday Agreement, is a challenging one in other ways. Indeed, the internationalisation of the Northern Ireland situation could, perhaps, be seen to be just as problematic as it has been progressive. In this regard, and taking into account, for instance, the steady neo-​ liberalising of the British Labour Party under Tony Blair during the 1990s, we might bear in mind Chantal Mouffe’s apprehension about a new mode of capitalist internationalism that, she argues, erases politics through ‘deterritorialisation’. Such an ideological tendency, in

in Ghost-haunted land
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Design, activism and precarity
Ilaria Vanni

in Italy.62 From the 1980s onwards, globalisation and advancement in technology led to changes in production processes, based on variable production for niche markets, ‘just-in-time’ stock management (to produce and deliver goods on demand), the multi-skilling and deskilling of workers, deterritorialisation, and a shift from material labour to types of work that generate communication, knowledge, information and affects. In response to these new systems of production, successive Italian governments initiated labour reforms that emphasised employment flexibility

in Precarious objects
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Dana Arnold

of deterritorialisation down which it constantly flees. There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome. These lines always tie back to one another. 30 The line of flight, like the line, has no beginning or end, but always a middle. And it is in this middle or ‘in between’ that everything takes place. 31 If we think about the Deleuzian notion that it is not what the line is but what it can do or be, then a line can be a mark, a trace, a contour or an outline, which is

in Architecture and ekphrasis
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‘Northern Irish art’ in the wider world
Declan Long

, as part of ‘the production of locality’ that, as Hardt and Negri argue, arises out of the forces of globalisation: ‘The globalisation or deterritorialisation operated by the imperial machine is not in fact opposed to localisation or reterritorialisation, but rather sets in play mobile and modulating circuits of differentiation and identification.’45 The meaning and value of such ‘regional’ or ‘local’ representations in the context of broader economic and cultural networks is a subject we will return to, but it is useful to note at this stage that though the new

in Ghost-haunted land