Une vie dans le refus de la violence : Entretiens avec Christophe Henning (French Edition)

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In, in den ersten Jahren habe ich das ja mitgemacht gehabt. Na hat mich das erwischt gehabt, 2 hat mich hingehauen. Elles ne veulent pas lui offrir une tribune. Carruthers Janice, , p. The semantic description of their meaning poses huge problems. For French, it has already been shown that double Perfects can have functions which exceed the classical temporal and aspectual approaches. On the basis of a number of examples of double Perfects in spoken German, we will try to show that the same interpretation could probably hold true here, too.

Also, das war ganz prima. Uns hat das ganz prima gefallen. Na hat mich das erwischt gehabt, hat mich hingehauen. Traduction par nos soins. Le mal qui ronge la 9 Face au mur, op. Dans ce roman, le pouvoir serait le responsable de la corruption du genre humain.

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Ils ne voulaient pas savoir, Paris, Plon, , p. Sous cette appellation on retrouve ce concept dans les travaux de psychologie et de psychiatrie de plusieurs auteurs. Nier quelque chose dans le jugement veut 28 Ibid. Pourtant Auguste doute, parfois, de son pouvoir: Ce qui inscrit ces travaux dans le domaine du Traitement automatique de la langue naturelle.

Jean construit une maison! Intellectica, 1, , p.

Grande admiratrice du militant noir W. Raylene prenait le bus. Ce matin, son horoscope lui conseillait: Pas de chien en vue. Elle sentait venir les questions. Le conduc- teur entourait le volant de son bras gauche. Ses yeux chassieux avaient un reflet lubrique. On peut y aller ensemble, toi et moi. Elle resta assise encore une demi-heure.

Elle eut des regrets. Tu aurais pu ruser! Je dois me tromper de sens. Cette fois, elle ne le manquerait pas. Il lui renvoya le regard sombre et humide de ses grands yeux en amande. Elle ne pouvait avancer sans douleur. Elle se figea, guetta le bus, une fois de plus. The Pigeon Tunnel, Illustra- tions; da Costa.

Abwei- chungen in Literatur und Wissenschaften des Jahrhunderts, Berlin, De Gruyter, , viii, pages. Foreword William Patrick Maynard.

Un article de Mario Tessier: Le texte, le livre, l'image, Paris, Presses universitaire de Paris-Sorbonne, , pages. Ursprung - Symbolik - Einfluss, Books on Demand, , pages. Wells and William Morris: Kovac Verlag, , pages. New York, et al. The Life and Extraordinary Afterlife of H. Where else does thinking happen? We must also undo thought of its dependence on the human subject. Thought is not first in the mind.

It is in the bodying. And the bodying is always in an ecology of practices. In the ecology of practices where it is not the mind that speaks, what emerges is not a subject-centered narrative but an account of how thought moves, how it moves us, and how it moves the world. A practice of collective learning is about the movement of thought, engaging thought at the immanent limit where it is still fully in the act. Learning happens through us, with us. We are bearers of thought in the sense that it is carried along.

We move in this carrying, and this carrying moves us. A methodological approach begins to unravel if it asks what knowledge does. What knowledge does cannot be packaged. There is no call to order for thought in the act. Study seeps and leaks and shifts and bounces. As study, what thought can do is begin to attend to the appetitions activated in the everyday, taking the thinking-in-the-act as rigorous on its own speculative terms. Thought now begins to coincide with the most creative definition of philosophy, philosophy that asks how , and what else?

Each thinking in the act must invent its own practices for learning, its own techniques for carrying. In study, what we seek is not the homogenization of thinking-doing but the creation of conditions for encountering the operative transversality of difference at the heart of all living. Research -creation, as we experiment with it, is study. How can the rethinking of how knowledge is created in the context of artistic practice become an opening to thinking philosophy itself as a practice?

What research-creation does is ask us to engage directly with a process which, in many cases, will not be or cannot be articulated in language. This is the paradox: The ongoing work of the creative collaboration that is research-creation involves honouring the dissonance of the push-pull of the textures and movements of practice that refuse naming, feeling the reverberations of that which cannot quite be put into words, while activating, in writing, the infrathin that sounds as much as it says. Research-creation does not need new methods. What it needs is a re-accounting of what writing can do in the process of thinking-doing.

This involves experimenting with listening at the verge, a practice that engages with the not-yet at the heart of learning. This is radical pedagogy: The Definitely Unfinished Marcel Duchamp. Hugh Tomlinson and Robert Galeta. Harney, Stefano, and Fred Moten. Tlostanova et Mignolo Shame traps us individually and collectively into the victimry of the colonial assault, and travels through the generations, accumulating and manifesting itself in new and more insidious ways in each re-generation. Through the lens of colonial thought and cognitive imperialism, we are often unable to see our Ancestors.

We are unable to see their philosophies and their strategies of mobilization and the complexities of their plan for resurgence. Decolonial Reflections from Eurasia and the Americas:. Thus, we perform an act of demarcation or delimiting with the previous principles of interpretation of history and modernity, without which it is not possible to enact the decolonization of being, thinking and knowledge… This commonality survives in culture, labor, intersubjective relations, knowledge, production, books, cultural patterns, and other aspects of modern existence… [2].

Living Thought in Trying Times. Views from the Underside of Modernity. Arbeiter Ring Publishing, Tlostanova, Madina et Walter Mignolo. Decolonial Reflections from Eurasia and the Americas. Ohio State University Press, We could both see the potential unraveling this might create for everything informing the design process - site analysis, socio-political context, tools and techniques, theoretical framework. A moment of shared concern, our Face-to-Face, for he was one of those rare students who really engages and integrates everything at a deep level.

All the more difficult, and commendable, given that the design studio was by its very nature - abstract - in more ways than one.

Radical Pedagogy: Inflexions No. 8 ()

Our tools and techniques included physical exercises in embodied praxis, drawn from psychophysical dance performance - offering occasions for questioning the agency of the body in relation to memory, intention, affect, and environment. These were drawn experientially within the event, then diagrammed and annotated, to be contrasted with studies on the kinds of physiological mechanisms that Phosphate regulates within the body - muscle contraction, motor intention, cell respiration.

Phosphate is central to the Western Sahara conflict through the exploitation of its natural resources, a primary material for the international fertilizer industry, which finds its way through farming and the supermarket into our own bodies. To design across these relations seems an impossible stretch, stumbling at the disjunction of illustration, criticism and experience. And yet, speaking to a strange distance in more ways than one - geographic, embodied, critical, theoretical - where the gaps within and between open to a different beyond.

If the challenges of practice-based research may offer opportunities for radical pedagogy, the potential for abstract thought and aesthetic sensibilities call for an immanent critique of the process. This paper passes through several shifts, where problems turn upon the emergence of concepts and sensibilities to argue for the importance of aesthetic abstraction at the limits of critical academia. It is here that radical pedagogy find its urgency in the immanence of the event, at a critical crisis point. Geography is not the field next door, nor even the neighboring district, but a line that passes through our objects, from the city to the teaspoon, along which there exists an absolute outside.

Bernard Cache considers relations of force and their inflections through a poetic approach to dynamic systems - following divergent vectors across geography, architecture, furniture, body and soul. These abstractions comprise lines of curvature, where a curve is seen to describe boundary conditions as a function of potentiality and modulation, rather than the contour of a thing in itself, or its contact with other things.

A point of inflection marks a change of curvature - from convex to concave - not as a single point of contact, but where this indicates a series of singularities distributed along an abstract line. The point of inflection suggests a slippage, where an absolute outside confounds the outline, cutting through a mutable interior of dynamic meta-stability. Deleuze draws his own slippages - adopting. As he sees it in the painting of Francis Bacon:. This is what Bacon calls the Diagram; it is as if, all of a sudden, we introduced a Sahara, a Sahara region in the head And so this is where we have landed - at the coalface of the university where learning and teaching came Face-to-Face in a moment of shared concern.

So, given an abstract premise - how can we land this outside? Or at least, how may we enter the frame of this encounter? The landing problem was a specific concern for our Face-to-Face. The student had proposed an innovative method - a modular mesh system designed to solidify sand dunes, providing a new ground plane for land mine affected areas. All the more clever for considering the way in which sand dunes move - but only up to a point. On closer study the schema is under threat of collapse - where the isolation zones that move like torsional vacuoles at the minor cusp of a dune reveal the speculative nature of this endeavor.

Notwithstanding several kinds of dune species, each with their own ways of moving, the isolation zone deforms and reforms the dune in a manner that even dynamic computational systems have difficulty modeling. Further testing is required, right? This calls into question the very value of testing, where a collapse in scope serves to reframe focus.

Or to deframe their orientation and the felt weight of this value as a different ground condition. For what else has collapsed around the isolation zone? A technical meshwork, yes - but also a theoretical framework; or at least, complicating its value for practice. In some ways the technical collapse of the meshwork speaks anew to torsional shifts of the smooth and the striated, reminding us of the pitfalls in easy orientations of theory and practice especially when it comes to actual conflicts, nomads, and desert terrains.

To resolve the mix, or to move with its outside, requires a process of immanent critique. Each with their merits, but nonetheless theory tends to enter practice by way of a critical function, without noting a slippage in terms - between the assigned value of critical judgment and the transformative weight of a critical crisis point.

Marginalia 90

It is often said that we learn by teaching, which may be to say that we also teach by learning. If this relation can be seen on either side - immanent to the process, it is where student and teacher may find a different way of landing. Not one of reciprocity exactly - a value exchanged and completed, but where a point of inflection deframes teaching and learning on either side. Not one of transference, but a shared outside that moves across and beyond our within and between. Beyond any given frame for being a student lies a passion for study.

But we can think together and let ourselves be taken by this Sahara in the head. Getting our heads around a shared outside, the problem of abstraction moves beyond nonsensical juggling across multiple modes of inquiry. Points of tension and slippage open more transversely, when the event is felt as something co-extensive with life, for which the case study is already alive in its own sensations.

Propositions begin to appear more speculatively - still open to the outside of this fragile interior. The impossibility of that which is not yet given in thought, may be felt as movement in a field of forces, before assigned values peg it down on a ground plane of possibility.

Lets not complete them - instead, let propositional lures for feeling move along an abstract line, returning to divergent specificities where singular transformations are always and already emerging. We can never fully know what this emergence is capable of, even as it returns again and again. What is the potential of a problem as a movement of thought through the absolute outside? Coming Face-to-Face at the coalface is a rare opportunity, given the pressures of teaching load, contact hours and class sizes.

Every student struggles in their own way with the weight of representation, shifting assigned values through a different concreteness, where things become abstract in their lived relation. Design thinking encounters the initial problem of coming up with a good idea, which is already a problem - coming up in our heads - without passing through an outside. As if it were simply a matter of devising a method for bringing the idea to built form.

As if the design brief could even assure this condition of possibility in the first place. For all its complexity this became the landing problem of the sand dune project, where a technical method collapses and then shifts towards a transverse technique for immanent critique.

Or its technicity - in the way Erin Manning describes an ethological process of worlding , immanently machinic across multiple yet irreducible dimensions, where passive and active forces become indiscernible within a more complex field of agency Manning At the slippage of this shift, where a problem appears to transform, the idea gives way to the singular emergence of what might appear as a concept - an entity dispersed more processually across diverse modes of inquiry, remaining irreducible to any of them, yet tentatively robust in the speculative character of their meta-stability.

I should qualify my earlier comments about theory and practice, for there is a sense in which theory becomes a catch all term that institutes the very flattening of its application in practice. The philosophical concept retains its specificity, as lived construction and trans-disciplinary divergence, to which design finds its own points of singularity. The sand dune slippage - if this may stand in as a trope - reminded me how many times students would repeat a similar pattern, each in their own manner, for collapsing the process of abstraction or lets say, speculative potentiality into built form, as a way of avoiding a problem.

Over successive iterations however, this pattern of repeated blockages or blind spots may show signs of differentiation and self-organization, where their own manner of collapsing reveals elements of style, despite themselves. At a particular point, of inflection lets say, the weight of successive repetitions may find a rhythm, such that the problem turns upon itself to reveal the germ of a concept. The concept appears on the cusp of a problem, where it comes to test itself in the emergence of lived process. The affective dimension becomes critical in this transformation - as the felt aspect of lived sensations, giving rise to a particular sensibility in the wake of abstraction becoming non-sensible.

Recalling the diagram - a field of forces is where things are mutually affecting and being affected, such that interiority opens to an absolute outside through the very fact of force. Affect reveals itself as key to prehending the force of the outside as a constituitive element of the event, moving on the cusp of what may be thought, indeed its very condition of possibility.

As Francesco Varela shows us, the texture of experience inheres in the fact that we are always-already affected: Emotional expression occurs when feeling carries sensation into the realm of the sensible; response to external stimuli is always-already primed by a tonal scale - between situational transparency co-extension and its collapse anticipation. Cognition is already enactive and extensive across multiple modes of attention - embodied, environmental, a-perceptive, intersubjective - such that phase shifts may always spike in unexpected ways.

Moments of crisis may be seen as a Cusp Catastrophe diagram, where performance, arousal and anxiety pass through strange bifurcations, when a situation seems no longer capable of holding implicit tensions within the actuality of an event. Affective tonality shifts on the cusp - moving with the torsional slippage of multiple durations, different rhythms, and their compression across divergent speeds and slowness. The three axes of the diagram describe conditions of physiological arousal horizontal , performance vertical , and cognitive anxiety depth.

Andrew Goodman

Nonetheless, inflection as slippage or rupture of a fold-curve offers an image for how the dynamical space of affect may be seen to transform. Where this may be seen to appear as an absolute outside delimiting every interior, auto-affection and affective tonality become the untimely strata that haunt the autonomous agency of the subject. Which is not to say, one already given as a form - as the contact of one thing against another - but rather, the tension that is always held within a field of forces and its capacity to shift phase.

It is the aesthetic dimension that is able to dance this line, to slide with the slippage, to be taken by the outside in the passion of being possessed by others. The whole point of inflection is not to design for catastrophe to occur. The Whole is never given anyway. In fact the spectrum disappears as soon as it is actualized in the catastrophe. Value finds a different weight here - a sensibility for affective resistance within the permanent catastrophe that is the modern institution under Capitalism. How does an event reconfigure itself after the spike softens? We are left momentarily marooned - falling back out of the loop in the fold-line flight , or up and forward from the S-bend attack See Fig.

Both too late and too soon, the multiplicity of the event collapses into raw singularity. The outside suddenly enters the open as interiority distends for a moment. The mood in the room becomes non-sensible, almost sensate with heterogeneous potential.

Gradually, points of inflection open new lines of slippage, curves undulating once more with a different weight. The field of forces gently cobbles the World together as we feel the Earth again, like some geological sedimentation of the event in which we - our together - is still and all ways to be invented. Capital infers its modus operandi - Debt - as a limit condition for pedagogical encounters, where knowledge is predetermined by values of exchange, use, and acquisition.

How does this call for a radical pedagogy, within the texture of this particular experience, Face-to-Face in the slippage of landing at a critical crisis point? To play the subversive academic is still to adopt the guise of being for and against, to recognize and be recognized by the university. From my perspective the design studio offered an opportunity to problematize the orientation of theory and practice, to mobilize differently the capacity for abstract thought.

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