I am participating in a really exciting workshop on Simondon and digital culture. Below the poster and my presentation abstract.


Affective Timing and Non-sensuous Perception in Differential Media

The relation between ethics and aesthetics defines a crucial problematic through which Félix Guattari develops his philosophy and analytic practice. Simondon exposes similar lines in his work with equally strong indications of its political relevance. He conceives of the aesthetic as immanent force in experience pertaining to its preindividual field as unexhausted resource for potential becoming. His overall theory of individuation could be also considered as continuous process of differentiation through such a field of potential.

Simondon defines the aesthetic as temporal relation between the preindividual as partially expressed present experience and its pull towards a future becoming, i.e. differentiation. The aesthetic is the interval through which experience passes as felt intensity in the immediacy of its occurrence. It is Alfred North Whitehead who links this temporal process of experience to perception, not as mere sense perception of given empirical data but through his notion of non-sensuous perception. Non-sensuous perception emphasizes the immediate past shaping the passing of the present and the present, as tendency of the future, shaping the potential function of the past. Through non-sensuous perception an interstice for aesthetic practices opens up allowing for an ‘immanent’ and ‘transcendent’ process of co-becoming between the temporal passing of the event and its metastable bodily expression.

For similar reasons Guattari, thinking at the dawn of the digital media era, envisioned post-media practices as “laboratories of thought and experimentation for future forms of subjectivation.” He underlines that what comes to be termed post-media describes a general transformation away from media as mere technological entities. Guattari interlinks aesthetic and ethical concerns pointing out that a “post-media society “will be invented, created within the perspective of a new aesthetic-political paradigm.“ For both, Guattari and Simondon technology defines an active and vital realm of potential not as a means but as enabling ecology. In their works both emphasize technology’s processual dimension, where aesthetics generates links between perception and its relation to time, ethics pertains to acts developing relations with other acts. How can we conceive of such acts not as a volitional and anthropomorphic activism but as a relaying of temporal entanglements between the immediacy of occasions of experience and their material constraints? Further investigating Simondon’s and Guattari’s take on ethics and aesthetics in a post media era I will look at digital media technologies susceptible to (temporal) differentiation. Such “differential media” (Andrew Murphie) highlight the potential of digital processes of timing as discontinuous yet relational processes of timing. Looking at Icelandic artist Ragnar Kjartansson’s video installation The Visitor’s I will work through the affective and emotive temporalities of digital media art and its relation to non-sensuous perception. How can we conceive of such artworks as instigating collective individuation foregrounding the temporal affective tonality at the heart of their expression in experience?


I am very exited to participate in this conference. Here is my abstract:

Affective Politics of Timing: Ragnar Kjartansson’s The Visitors

In his video-installation The Visitors artist Ragnar Kjartansson constructs an immersive nine-screen video-piece of a collaborative sound performance. Eight musicians dispersed throughout Rockeby Farm Mansion in upstate New York, play instruments and repeatedly chant the lines of a short poem by Ásdís Sif Gunnarsdóttir.

The piece deals with duration, repetition and immediation through its insistence on time as collective and affective force holding the work together. While recent responses to affect in contemporary theory have led to a critique of its emphasis on immediacy, I will attempt to reconsider immediacy as opening a problematic field rather than becoming another object of critique. The power of suspense and duration in The Visitors provides a vital ground for addressing its aesthetics as an affective attunement of heterogeneous elements cued into specific timings. Using Brian Massumi’s differentiation of three kinds of memory (active memory, conscious memory and a memory of the future) I will investigate how The Visitors enables a collective sense of emergent ecologies of timing, an affective politics of timing. Immediacy according to this fine-grained conception of affect is not an instant independent of its milieu, on the contrary, its very power of existence consists of disjunctive times constantly attuning and being attuned. Change, and the potential thereof, emerges through the eventual encounter, its re-activation and unnoticed but active tendencies. The political question then is: how to inflect, activate and enable situations capable of more potential to actively become part of our immediate concerns and how to develop a sense of care for their effects?

Open 23 - Autonomy

In this time of ideological, economic and political crises autonomy is becoming attractive again.

But how does autonomy - the wish to take matters into ones own hands and have significance independent of old structures -  relate to the call for engagement and performativity? This issue, made in collaboration with Sven Lütticken, examines autonomy from the standpoints of art, art history, philosophy, political theory and cultural criticism, and attempts to resolve the bind between thinking in terms of engagement on the one hand and autonomy on the other.

Steven ten Thije delves into the background of The Autonomy ProjectJohn Byrne argues that art must be freed from its current technocratic framework. According to John Hartle, the rightwing-populist criticism of art lacks democratic legitimacy.Willem van Weelden interviews Franco Berardi on theItalian Autonomia movement and autonomy, Occupy, and education. Hito Steyerl makes a plea for isolation in order to think about how life can recapture its autonomy from art.Christoph BrunnerGerald Raunig, and Roberto Nigroexamine new dimensions in current forms of activism. Joost de Bloois comments on the recent protests against government cutbacks, whereby an appeal is made to autonomy. Sven Lütticken investigates the concept of autonomy and its relation to aesthetics and politics in the context of post-war modernism.Andrea Fraser argues for an approach to autonomy from a psychoanalytic perspective. Peter Osborne analyses misunderstandings about the autonomy of art and goes into Adorno’s ideas in this regard. Thomas Hirschhorn andJacques Rancière investigate what the essence of a work of art might be in these times.

Our contribution


About Open

Open investigates the contemporary conditions of public space and changing notions of publicness in a structural manner in relation to cultural production. This implies an experimental and interdisciplinary exposition of the reality, possibilities, and limitations of the current public domain, in particular from sociological, philosophical, political, and artistic perspectives. Within the framework of this ‘project in progress,’ themes such as safety, memory, visibility, cultural freedom, tolerance, hybrid space, the rise of informal media, art as a public affair, precarity, and privacy have been examined.

Open is edited by Jorinde Seijdel (editor in chief) and Liesbeth Melis (final editing) and appears twice a year in a Dutch-language and an English-language edition. The graphic design is by Thomas Buxò and Klaartje van Eijk. Open is an initiative of SKOR | Foundation for Art and Public Domain, Amsterdam and is published by NAi Publishers.

Due to several observations throughout my (short) life at universities and all its registers, teaching, administration, research and so fort, I come to a strong disbelieve that thought is actually taken seriously in everyday modes of academic existence as ethical concern. I am using the notion of concern explicitly from Whitehead’s mediation on the Quaker concept of concern in Adventures of Ideas. For Whitehead the “occasion as a subject has a ‘concern’ for the object. And the ‘concern’ at once places the object as a component in the experience of the subject, with an affective tone drawn from this object and directed towards it” (WH (AoI) 1967, 176). A concern creates a relation in the midst of novelty emerging through a subjective form. Without concern, there would be no relation possible and without the possibility of relation as ontogenetic force there would be no event, no emergence and no becoming. This scheme of concern permeates the entire spectrum of existence, up to quantum level, and might be also thought of as that what gives experience the relevance of existence in an actual occasion.

Why do I need this notion of concern to make my point? In academia and particularly in the humanities and even more specific in fields where question of power (à la Foucault) are concerned, readers and writers try to grapple with institutional power by asking what constitutes power relations and what holds them in place. The attempt of a concern is given in the kernel of the question of power but the relevance of it is often not present. To give an example: A teacher introduces first year undergraduate students to Foucault’s Discipline and Punish. Questions of the relation between bodies, institutions, architecture and power are raised and disciplinary strategies are highlighted. The movement of thought that the text generates resonates with the students’ own experiences in a place that aims at disciplinary apparatuses, the means of correct training and the subjectiviation in institutional confinements. The teacher then employs techniques of control and discipline by means of examination, judgement and a strong believe on how to interpret the material properly. This is exactly the point where two modes of disciplinarity meet: 1) the disciplinary enclosure of proper interpretation according to a certain episteme; 2) the disciplinary practice of examination and subjugation as means of correct training. The concerns in such “teaching-machines” is not a concern of relevance. In other words, these concerns assume a certain kind of stable subjectivity of the teacher, who has acquired a certain kind of knowledge and joined a certain kind of power apparatus that supports the reproduction of monotonous interpretations. in Whiteheadian terminology, there is no opening for the incurrence of novel objects to become part of a subjective form of an actual occasion of experience . If there was a real concern that has relevance, one would have to make the modes of thought at stake come alive in the reading and writing of one’s own practice and in the presence of the others (e.g. the students, the concepts, the dead authors, the institution, appearing objects).

Similar problems occur in institutional settings. To navigate between the administrative monster, the desire and pleasure for and of research and the obligation of teaching can create moments of great despair. But what is at stake here is the continued concern to not stop thinking. If thinking is reduced to the fabrication of texts for the accurate positioning in designated fields targeted at the proliferation of one’s own personality, concerns are again without relevance. In relation to an occasion’s relevance in the future Whitehead writes: “The relevant future consists of those elements in the anticipated future which are felt with effective intensity by the present subject by reason of the real potentiality for them to be derived of themselves” (WH PR 1978, 27). This conception of relevance feeds the principle of creativity in Whitehead as the emergence of novelty (AoI 179/180). A concern that is relevant can only emerge through the intensive feeling of the subject for objects as part of their relevant future. In other words, a twofold process is underway for a relevant concern: the subject has to have the capacity to feel potentiality of the future elements of a concern and these elements need their potentiality expressed through their independence. Both parts belong to an ethics of the instant of creation by having a relevant concern. In the case of the institutional impasse the relevant concern arises from the subject’s feeling for the object’s potential - it might be a situation with students, a concept, a political event, a conversation, a thing - and the objects’ potential to become in a relevant future. This means for creative movements of thought to be relevant concerns, they have to constantly begin from the ethical plane in the midst of a feeling for and with potentiality. The genesis of the subject can never rest but has to constantly be concerned with the movement of thought in the very moment of one’s practice. The imposition of institutional power, the aspiration for status and the abuse of one’s position (as rank) create an immobile and uncreative suspension without measure. It is the the surrender of creative thought under the disguise of power imposition. The strange thing is that these sates of uncreative suspensions still create feeling and at some points these feelings might be lured into being concerned again in a relevant manner, glimpsing potentiality from afar. Hence, and this is the great danger of habitual inattention, suspension and immobility increase the decline of an ethical concern emerging from the middle of each occasion to think in the presence of the other.

A relevant concern as an ethical concern therefore requires a “believe in the world” as Deleuze mentions: “If you believe in the world you precipitate events, however inconspicuous, that elude control, you engender new space‐times, however small their surface or volume … Our ability to resist control, or our submission to it, has to be assessed at the level of our every move ” (Deleuze Negotiations 1995, 176). Disregarding to asses the ability to resist control at the level of every move, means to stop thinking and to give in to the standardization of everyday life. The desire for power and control lurks around every corner and the comfort to reproduce pre-given actions is daring. The question of concerns of relevance has to do with how the creative act of emergence is concerned as ethically relevant. It is the task of the subject to put itself at risk at the level of every move to be able to produce relevant concerns in a creative manner. Thought is in decline because anxiety reigns over risk and greed over generosity.