After a long stretch from Cardiff back to London and then to Zurich, I am finally able to post a couple of reflections on the Deleuze and Activism Conference in Cardiff. I will here focus on a couple of common remarkable points that could be sensed throughout the event.

In first place the issue of “Deleuze” - “and” - “Activism”: Fortunately and finally precise and creative critique has been uttered concerning the rather dominant refrain of a branding of “Deleuze and …” enterprises. No surprise with the conference’s setting at Cardiff and its filed of Deleuze and-ianisms this might have been the last event termed in that fashion. Nevertheless other participants, respectively Keir Milburn from the University of Leeds, and I amongst many in the audience felt the problematic and discomfort of the framing of conferences through an “and” that creates a binary relation without respecting the eternal “and” prominently proposed by Deleuze and Guattari in their opening chapter of A Thousand Plateaus. From my perspective this has been less framed in a terminological problematic and rather opened the question of enabling constraints for thought to generate a creative problematic plane. In that sense one could feel that discourse has not been challenged in terms of radical thought but rather a rehearsal of established modes of thought. Without deploying a general critique and neglecting the fine nuances uttered by some very inspiring presentations, I would like to emphasize the slow mobility when it comes to rigorously creative and at the same time precise modes of thought. To base discussions on historical convergences between Deleuze and his peers or interpretations by successors, or to draw the discussion into a Badiouian or Hardt and Negri field seems less creative than one might expect.

The second issue of a conference on activism without an act-ivism: This was for me one of the most irritating experiences of the event. A continuous “drive” (and indeed it seems appropriate to not use desire here!) towards excuses of not doing real activism but only talking … I would suggest thinking might have happened once in a while as well. The issue here at stake was to feel uncomfortable if not ashamed of being academics or justifying oneself in such a situation. The more than a century long convergences between theory and practice to their very abandonment of the two explicitly in the philosophy of Nietzsche, Wiliam James, Alfred North Whitehead and Gilbert Simondon seemed to be evicted at various moments of the conference. This has to do for me with the “and”-construction of an event, where a name becomes the place-holder for “philosophy” (proper) and the addendum of activism its other pole. What seemed to happen throughout this series of self-accusation or excuses was the reinforcement of these two terms and their epistemes and ontologies without focusing on the continuum of which these two poles might be part of. In other words, an ontogentic mode of thought would have been helpful to foreground the field of emergences that make such a field of thought between Deleuze and Activism possible. In that sense, “A Thought” as an “act” (and certainly an act as a thought) could be regarded as a milieu for emergencies around a particular mode of thought and practice (that of Deleuze and his field) and another field of thought and practice related to activism - A thought is an act and an act is a thought, both being part of the complex micro-events of emergency as expression and their micropolitical forces.  Without depriving each of these fields from their very own ontologies, an ontogenetic operation could actually facilitate other fields of emergency that are vital enough to sustain a critique by proposing a different problematic, that of separated poles and the actual continuum that provides the plane of emergency for such poles to be potentially actualized. In such a manner the considerations of research-creation where the hyphen emphasizes a continuum of sets of practices across domains and where fields of emergence are the experimental ground seem to me one of the promising avenues for an ontogenetic operation that deals creatively with proclamations of blocks such as philosophy and activism.

Finally the very insightful demonstration of various processes and practices: This was the delightful part apart from also meeting very interesting people whom I have been friends with or heard about a lot. The various insights into Israeli micropolitics of interventions in the Israeli settlement politics by Ronnen Ben-Arie, the creative paper on Dandyism by Laurent de Sutter, or the presentation on the Radical Education Collective by Gašper Kralj and Bojana Piškur offered interesting and engaged approaches across domains. Not only appeared it that practices are able to foster a vital thought but also that a mode of thought can team up with practices when they collide in a creative way. In that sense I wished that conceptual papers would emerge more often from a serious self-understanding as practice and as an act at the very moment, a presentation as part of a series of events, a re-folding of experiences that are the ground for a conceptual trajectory.

Another aspect that surfaced in light of different practices and their contexts, was the very thought and practice that has to feed into creating an event. Such a circumstance has less to do with names and designated research fields but more with the formats we seek and the potential opening of a co-creative process. It seems to me that a small and intense setting as it was the case, works quite well. But at the same time I had the impression of being restricted through modes of organization and overarching formalism as academics/researchers of all fields with an interest in activism. From that angle I am convinced that the framing of an event is as important as the different people and ideas that come together. A board-room with pompous paintings of deans and a conference that doesn’t get in touch with the organizing institution and its students are two of many factors that have an impact on how such an event turns out. To understand a conference (in itself a critical term) as an ethico-aesthetic and aesthetico-political event across transversal registers of creative movement might propose another trajectory that could help to make the co-creative “acts” of such an event being felt.

interdisciplinary dialogues - what is research?

The Interdisciplinary Dialogues 2009/10 series I am organizing in the PhD in Humanities at Concordia Universty, took place for the first time this term with the opening session entitled “Art as Research.” The overall theme for this year focuses on the question of “What is Research?” As part of the annually curriculum the PhD in Humanities is having the Interdisciplinary Dialogues as a platform for PhD students in the program to share ideas with their peers and faculty and to get their work discussed in light of particular topics.

The emphasis of the conceptual framework lies in the notion of “dialogues.” From last year’s experience and due to a general discomfort with terms like panel or paper presentations, this year’s series aims at creating an environment of mutual exchange of ideas in relation to a specific theme. Thus, the PhD students were asked to give 10 minute insights into their work in conjunction with the session’s theme. Once the presentations are over, a discussion with the audience is generated by a faculty member. In our case Owen Chapman from Concordia’s Communication Department took on the role of the discussant.

What follows are some remarks that are based on the experience of this first panel and the experiment it comprised. The presentations were all exercised in perfect idiosyncratic and thoughtful ways. I think the audience received insights into five very different projects that have very different angles around the problematic field of art as research. From preceding discussions the presenters knew each other which turned out to be very beneficial for the session as such. Hence, the challenge of proposing a problematic field instead of a bold statement or a mere provocation played not really in favour of the creative collaboration I envisioned for the session. Once the floor was opened for the audience, people (in reference to one individual in the audience that unfolded the problematic in a more than determinstic mode of thought [à la art vs. science vs. philosophy]) often fell back in defending academic disciplines, their value for dialogues, and their strengths in adressing the issue of art as research.

During the course of the discussion it turned out that the setting of an interesting theme, great presentations, and a discussant, are not necessarily enough, if it is not possible to divert deterministic lines of thought in favour of more productive forces. The techniques at stake need to be more refined without cutting the proces of actual collaborative thought. Hence, and this is the curicial question here, what is needed for a collective thought to emerge? I actually think, that the potential for such a collective process was immanently present but did not actualize due to particular circumstances. This is in its core a very political problem. On the one hand, we have to warrant a certain openness for a process to freely develop in its unpredictability. On the other hand we need a political commitment that is able to cut creatively and therefore to generate new openings. The political act resides not in the selective mode of amplification of a preferred line over others (always the problem of a positioning such as “right” or “left”). On the contrary, the political act here lies in the very attentiveness towards a process that need to be maintained open for new modes of collective expression. In other words, not a strategy or tactic that provides a direction but a continuous critical re-posing of the problematic at stake and its creative productivity.

Once the session was in a certain mode oriented (or territorialized), the refrain, with which the territory appears, became so strong that it disabled any re-emergence of a creative collective process. Participants fell back into straight-forward and short-handed exercises of rehearsing the jargon of their accustomed and inscribed disciplinary modes of thought. What would have been necessary was a little cut to open up another line and therefore a new field of potentials. In that sense a discussant can take on such a job, an audience member as well or one of the presenters (ideally we might want to get to a point where these differentiations are somewhat obsolete). The question refers for me to a lack of intensity and resonance. Certainly a molar resonance developed according to a strong refrain - the deterministic statement according to molar blocks of thought. But there was another resonance immanent yet not activated. The discussion that the presenting students generated in the meetings before bore plenty of potential for a collective mode of thought. A group-intensity, a comfort and ground to work from were the immanent forces that could have been activated to generate a new shift towards a processual opening.

We have two more chances to experiment in the coming sessions. Let’s hope things get more often cut productively than they did this time.

This is a commentary and reflection on the ongoing discusssions in Hamburg (Germany) about a complex of historic buildings close to Hamburg’s city. The disctrict called “Gängeviertel” in proximity to the city center consits of 12 remaining buildings of the former working-class area. Hamburg’s city council in its continuous treatment of urban space as commodity to be sold at maximum profit disregards the need for affordable housing and culturally transversal zones. DIfferent from Berlin Hamburg suffers from a continuous loss of affordable work and production places for young artists and creative communities (it is probably just a matter of time until Berlin arrives at this stage). More than 200 artists have started to peacefully squat in parts of the buildings for exhibitions, info-cneters, performances, lectures and concerts/parties. The resonance of the interventions has effected more than 10.000 visitors s far. The city who originally sold the property to the Dutch investor Hanzevast is under pressure to resign form the contract and consider alternative developments of the area. The creative community united under the title “Komm in die Gänge” (a word-play on the title of the district meaning something like “move it!”) proposed recently an alternative development plan. Here are two videos, one in German but it provides good insights and another showing a flashmob in front of the city hall against the elimination of important cultural institutions in Hamburg.

Such inspiring activities call for several questions regarding resistance and potentials for interventions and strategic occupation of space. It seems like the negotiation of a spatial environment receives a wider interest through its presence than other less material and less tangible forms of protest. The size plays an important role but also the pressing issue of a lack of space in the city and the desire for liveable and affordable districts with a rich cultural atmosphere. The collective initiative depends heavily on the factor of spaciality and the distribution of matters of interest in the spaces. In an environment of a a major city and the despair of creative cultures that move to Berlin and other countries, Hamburg has the chance to convert a site into something productive in an ethico-aesthetic manner. In other words, the groups that form a collective seek paths for enunciation that operate on margins between a molar issue and its appropriation.

The delicacy of dealing with large-scale sell-outs of space to corporate money reveals its problematic in a double-folded situation. In the molar capture of a capitalist purpose either option, a sell-out or a culturally diverse and sustainable renovation of the district, offers little room for a difference in terms of a creative climate beyond capitalist appropriation. Being marketable will always remain the general purpose if larger investments are at stake. On the other hand the creative force of adaptation seems to be transversally present throughout different notes of critical response to the lack of space, culture or support. One of the major fields of investment should be the creation of collective enunciations that address the issues of molar capture at many levels and through different strata. A rather topological generation of regions with sets of creative practices and their forces. In such a way the predominance of space seems persistent when it comes to a wider recognition of a problematic field. Such a spatial point of entry therefore has to be adapted and extended by its durational nature, its transversal practices and topological unfolding. It sometimes seems to be more reasonable to negotiate a minimal support and therefore a maximum of autonomy. If the city council involves in a remodelling project of the sight it might be advisable to create autonomous formats of a cooperative, with more self-organization and little reliability on the financial situation of the city.

In a deleuzoguatarrian manner I regard the second video, of a flashmob that creates noise, as a cut into the rhythm of solidified space, creating its own rhythm and connecting new milieu’s. Such practices might be a sign for a resistance and practices to come. The foundation of the molar deployment of reason fundamentally disintegrates in light of transversally powerful (meaning creative) rhythms that offer new collective modes of enunciation.

levels of nothingness - rafael lozano-hemmer

This is a short review on Lozano-Hemmer’s and Brian Massumi’s (in collaboration with Isabella Rossellini) work in progress “Levels of Nothingness” shown at the Guggenheim New York:

The Guggenheim’s Works in Progress series issuing its 25th anniversary this year, invited Lozano-Hemmer to present one of his works in progress. Levels of Nothingness is a synaesthetic performance of written, oral and visual dimensions. In collaboration with the actress Isabella Rossellini and the philosopher Brian Massumi Lozano-Hemmer and his team developed a voice-tracking system that responds to words in the form of lighting events. Attempting to create a relational model between the dimensions of thought in motion and audio-visual experiences the performance consisted of a 30 minute reading of philosophical quotes revolving around colour and perception clustered in conceptual blocks such as “emergence,” “singularity,” “body” or “transition.” Massumi’s philosophical influence in his work on colour and perception has been complemented by Rossellini’s beautiful voice and the “light dance” of more than 50 rock-and-roll concert lights.

The sensation that such an event generates is difficult to circumscribe in a classical manner such as light performance or interactive performance. What actually happened was a relational field of perception throughout the entire room. The perception of the visitor became amodal in its mode. In other words, one was immersed in light, a screen to read the quote that was aurally transmitted by Rossellini’s voice and enclosed in a slightly hazy room with the background noise of the lights moving and other bodies trying to capture the light at the ceiling. The human perception became amodal while the machine perception had its full attention focused on the voice and flow of words in their sonorities. The performance system for interaction became the perceiving entity as we (traditionally) expect the human sensory-motor system to work whereas the human perception was forced to reveal the amodality that perception is based on - synaesthesia as the point of entry for any perception to become noticeable and not as a strange abnormality of some particular individuals. Those who know the work of Massumi will realize that “Levels of Nothingness” might be one of the first attempts to make the synaesthetic amodality of perception apparent in a conscious and not only a pure experience. The collective modes of the event taking form cross many fields of expertise and experience that might be best described by the notion of mutual intensity for “a perception to come” - an intensive field of percepts offering themselves for experience to merge into presence without ever becoming immobile. On might regard the experiences generated in the event as an extensive continuum of collective intensive practices that has been extended for the first time to allow a wider audience to become part of the event. Thanks!

Hopefully, a longer interview with Rafael Lozano-Hemmer and Brian Massumi will be published in one of the following issues of Inflexions - A Journal for Research-Creation.

space invaders - impression taken by christoph brunner in paris 2009
In relation to my research and the fabulous projects that surfaced in the last years I thought it would be useful to have some hints towards really great sites for urban activism, actions and interventions that happen in the in-between spaces of the urban fabric. One is co-founded by Jean-Francois Proust and entitled Adaptive Actions - he is also involved in Montréal’s VIVA! Art Action festival of which I will report more throughout the week. Another great site is the well acclaimed and really beautiful site of the CCA’s (Canadian Centre for Architecture) exhibition Actions. FInally a site a good friend pointed me out to in Europe *Book [of] Urbanism. All three propose transversal, activist and creative practices that shift urban configurations and create pockets of difference.

To give a small impression of the side-project around floaties and ephemeral architectures developed by Jonas Fritsch and Christoph Brunner, I would like to post this video documenting our ephemeral action. The video has been produced by Jonas Frtisch. The work developed during the 5-day transnational and pan-global event Society of Molecules undertaken by members of the Senselab around the world. For a short info see the projects-section on this site or follow the links to Society of Molecules and the Senselab. For a detailed coverage of the whole event see the forthcoming issue of the journal InfleXions on micropolitics edited by Erin Manning and Nasrin Himada.


In one of my recent projects (”Nice-Looking Obstacles: Parkour as Urban Practice for Deterritorialization”), I have investigated the question of movement and architecture as rhythmical nexus through the practice of Parkour. One of my major arguments builds on Parkour’s consideration of obstacles as potential “landing-sites” for a different movement to take place. The engagement with architectural configurations and obstacles through movement recomposes the city, architecture and spacetime through the constant shifting of the movement-space-time nexus (see for example Bergson, Time and Free Will, Chapter II: “The Multiplicity of Conscious States; The Idea of Duration”). To conceptually derive from phenomenological tendencies in Arakawa and Gins and transform the practice of Parkour into a creative form of thought in motion, I use Deleuze and Guattari’s concepts of rhythm, refrain, assemblage and milieu. My major concern aims at the question of how architecture cannot only become more fluid or lend itself for interesting encounters, but what are the ecologies of practices that radically open the potential of movement and encounter to create new relational concepts of spacetime. The full article will be published soon in AI & Society but I would like to provide an excerpt of the most conceptually dense section.

The excerpt: “Architectural Body - the Concept of Landing Sites


ICMC 2009 Christoph Brunner - A Cultural Approach Toward the Interface

Attending the ICMC (International Computer Music Conference) I have seen various presentations so far of which I liked the two by Robert Gluck form Albany University most. The conference in total is very well organized and the crowd as usual appears attentive and precise. Tomorrow at 9.20 a.m. I will give my paper “A Cultural Approach Toward the Notion of the Instrument” in the Paper Session entitled Aesthetics. I regard the allocation of my paper as very suitable and will hopefully be able to give an insight on an ehtico-aesthetic approach towards creative music production and instrument/interface design. Here is the abstract:

“In the field of computer music research the development of new input devices for musical performance and sound interaction plays an important role. This paper explores the cultural implications embedded in the use and concept of the notion of the instrument in such fields. Cultural implications in this particular context are the meaning structures that evolve from knowledge expressed through language and developed through practices. The main focus of this inquiry is based on the potential to detect the impact of new computer music research on its socio-cultural environment. Concepts such as assemblage and ecology will propose alternative ways to address the hybrid relational (interdisciplinary) networks that create such input devices. This approach proposes alternative models to conceptualize interaction as performative relations between humans and nonhumans, as outlined in the domain of Science and Technology Studies. Computer research interweaves the cultural dimensions with a social context and foregrounds the political implications signified by its practices and technologies.”

The full paper can be downloaded here


The Centre for Critical and Cultural Theory In cooperation with Culture, Imagination and Practice Research Group, School of Social Sciences


In light of my acceptance for the Deleuze and Activism Conference in November in Cardiff, I would like to publish my abstract for remarks and discussion:

Expression as Micropolitical Force of Change

For Deleuze and Guattari expression evokes a shock that is in excess of the human body’s contained capacity of perception. It is the potential for change as an ethico-aesthetic and political enunciation. Expression as ethico-aesthetic concept yields the creative capacity of a becoming through an unfolding of its transductive and transversal forces of potential. Expression’s ethical implications lie in the question of “how one performatively contributes to the stretch of expression in the world” (Massumi 2002, xxii). It defines a particular mode of emergence, a becoming that is singular and yet in relation (collective). As a collective mode of becoming, expression reshapes the body as event producing a complicated field of potential that is constantly negotiated by molar captures and molecular series of singularities. The body in its state of shock becomes a negotiated territory for capture being executed (the molding of the expressive potential into a defined system) or it creatively acknowledges change (the acceptance of expression’s potential as novelty).

In an attempt to contribute performatively to the “stretch of expression in the world,” and thus to open up bodies towards the excessive potential of expression, the Senselab ( launched a series of events, called Technologies of Lived Abstraction, of which the latest was entitled “Society of Molecules (SoM).” Echoing Whitehead’s concept of society as a relational collective, SoM is a transnational and transversal series of events creating ethico-aesthetic interventions in their immediate local environment. The process-based events yielding an activist micropolitics will function as domain of inquiry to trace expression’s affects on a global, yet transversal, territory.

category: openings


Wordpress provides it and we take it. Hence, not another wordpress blog but a smart interface usable for research-creation and thought in motion, this page will in the future hopefully generate ideas around the concept of relation in creative practices and their micropolitics. I, Christoph Brunner, will be author and researcher who triesto generate ideas and think process along its meandering lines of flight. A platform to bounce off first impression and a reference for what I am doing, where I am at and who and what is inspiring me.