[terror]tory

[terror]tory is an assemblage of processes that develops portraits of fluid identity; identities that are unravelling and becoming. In his lecture “Subjectivity and Thought in Gilles Deleuze,” Manuel De Landa (2009) describes identity through an analogy: as the matter brought down by a river, layered over time on the ocean floor. This layering refers to habitual routines and repetitive narratives, which become identified with the subject, I am. He points out that the identified—myself or the mountain—also has historical evidence and therefore cannot be reduced to a mere social/linguistic construct. Following De Landa, [terror]tory explores identification as a territorialisation of consciousness, which occurs primarily in an inherited/taught/socialised/genetic way, becoming the bedrock of what identity is based on. In a Spinozan sense, all things are unavoidably the way they are and that which emerges is necessary. However, it seems that the matter that makes the bedrock can prove problematic if, for example, the matter layers on beliefs such as “I’m not good enough.” Apparently this matter cannot be removed physically or psychologically, we are stuck with it, it is “the matter” (as in “what’s the matter?”).

Deleuze points out that beneath these layers of habitual routines and narratives that harden and densify, we find a domain of intensive and volatile magma (desires/will to power), which cause a folding, fracturing, stretching, moving of the matter above it. Psychically he refers to these ruptures/disruptions as states of “delirium” (vertigo, meditation, shock, yoga, breath work, psychedelics) that afford the consciousness glimpses of experiences that support its non-dependence on identity—that consciousness is not what it identifies with. De Landa adds that psychological wellbeing is dependent on a certain amount of stable identity; however, identification becomes arthritic and Spinoza points out that human perception is primarily lodged in an erroneous perception structure mechanism, identifying with what isn’t rather than with what is (I continue to watch sunrises and sunsets, even though I know the earth revolves around the sun!). [terror]try researches methods that can tap into the psychic magma—practices that loosen identity, opening up to new possibilities and creativity.

[terror]tory engages with the following practices as a methodology to catalyse and maintain fluid identity: This methodology is performed by using clothing as the matter of identity. This clothing is personal and owned by the performers. Deterritorialisation occurs by “filleting” a garment, removing the fabric from its seams. This process is a shifting of paradigm from a transcendent, linguistic ontology; it liberates the fabric of being from categories/territories from the map, making the material of identity virtual. Reterritorialisation begins with the fashioning of yarn from the liberated fabric—relating to the matter, eliciting the narrative. These yarns are bound into balls—an introspective cocooning procedure. The balls are gifted to and swapped with others—the exchanging of stories, listening and relating to others. Knitting begins. Sitting with the narratives creatively developing new fabrics of identity that relate to the materiality of being, witnessing and assisting in the emergence of new forms of becoming: sitting with, witnessing, and co-operating with emergent forms in an embodied way. The new material can be unravelled, be gathered, be stretched, and have spaces. All the fabric from the original territory has been used; however, it has changed state.

These processes embody sustainable “delirious” practices: mediation (sitting with), yoga (embodied practice), relating to stories of another. The performance itself becomes a “delirious practice.” As a craftivist work it deliberately uses the politics of gendered spaces and practices as a means of disruption within places and practices—specifically, knitting (female, domestic, personal, unseen, craft, private) in a public/academic (male, intellectual, public, valuable, important, visible) context. Knitting in an academic/public context creates a disorienting juxtaposition, a disruption serving as a delirium to shift consciousness.

Web: terror-tory.blogspot.com; vimeo.com/134178378; vimeo.com/134127764.

References

Manuel De Landa. 2009. “Subjectivity and Thought in Gilles Deleuze.” European Graduate School Video Lectures. 11 videos. Accessed 15 July 2015. https://www.youtube.com/playlist?list=PL30032170CD028499.

OMNIADVERSUS Self-Actualising the Subject

“OMNIADVERSUS Self-Actualising the Subject,” or “O,” is a theoretical, visual, and performative art research project that has been developed since 2010. It is an ongoing piece that undertakes artistic research on post-identity through heteronomy, the formation of artistic subjecthoods, the interdependence between subject and object as artistic values in non-art approaches. O proposes a revision of the question of authorship through a conceptual and immersive practice and inquires about the functionalities of the self in art politics.

O is a rhizosphere-like platform that revives concepts that are put to an experimental performative practice. It explores these concepts to an empiric extent, setting its research to analyse and develop knowledge over the aftermaths of such experiences. Its formulation has been influenced by ubiquitous concepts in philosophy and in critical theory and by a subsistential affinity encountered with Mille Plateaux. These are undertaken as playful elements for research, with ultimate considerations in self-overcoming, becoming-other, metamorphosis of the being, schizoanalysis and schizophrenic practices, the existential nomadic, multiplicity, and impersonality.

O’s practice happens through an immersive performance with existential contours, consisting of launching several artist-personae, or immersive heteronyms, that develop distinct lines of investigation resulting in individual bodies of work, by inducing the manifestation of agencements, practising deterritorialisation, and evolving through becoming-other.

The heteronyms, are integrated in particular cultural and social backgrounds and interact in specific circuits, describing their existence as living personae. Evolving in an autonomous way and independent of one another, they create different artistic approaches, as by-product multiplicities surging within the context of immersion. Promoting insights into the overcoming of the self through multiple-subject approaches, O aims to cast the self as the art piece, ungraspable, within several prisms and cultural influences. This is in accordance with the identity forming process of subjectivation, which the heteronyms relate to in the field of visual and performing arts.

These heteronyms are impersonated by a sole person who temporarily disengages from using her official, familiar identity and sets off on a post-identity journey, immersing herself in a field of action with other identity attributes (such as name, origin, generation, gender), allowing these to become tinted by the circumstantial contact in the cultural-social environment they are immersed in. This self-approved allowance for frequent identity shifting according to an external leverage strives to recreate and actualise the concept of identity as an ever-changing interfacial embedding of the self, as a medium for self-overcoming, beyond arborescent compliances.

The launching of the heteronyms’ personalities allows for observations about the formation of identity in a bid to transgress its own officialised restrictions.

O enables practices toward an ultimate merging of subject and object, as a formula for retrieving significance ahead of dualism, impoverishing the fields of stage/wall representation.

O encourages processes of becoming, immanence acts as the subject emerges as an artistic object in unexpected existential formats, as in life itself, sustaining non-art statements.It conceives trajectories of life as the artistic object per se, living-as-form, with their inevitable processes of deconstruction/reconstruction unveiling the possibility of “being-zero” as an excellent source of the art medium.

The authorship of OMNIADVERSUS is presented sous rature due to the reasons explained above which defend the impersonality of the author; thus it should always be presented in this way: Silvia Pereira.