Guattari’s opening move in Chaosmosis can only seem fraught with difficulties. Once he places ICTs at the heart of a machinic subjectivity, it becomes hard to see how, if the analysis of the semiotic and economic composition of semiocapitalism is correct, this could offer an exit from “the subjectivity of generalized equivalence.” Yet Guattari offers an exit strategy by invoking the power of art-making to reshape experience and bring new territories and universes into existence. How, then, can art elude the dictates of media technologies? Why was he so attached to the notion of hypertext? Doesn’t the setting of pre-selected linkages complicate its ontological value? Is his general conception of art consonant with analog tech – portable cassette recorders and videotapes?
ABOUT GARY GENOSKO
Gary Genosko, post-philosopher, media theorist, semiotician, works on communication and cultural theory, subcultures in the digital underground, and whistleblowers. His philosophical interests includes the philosophy of Félix Guattari. Post-media, communication modelling, critical semiotics, and media ecology play important roles in his writing.
Hosted by Transversal Transgressions: Guattari Reading Group
Sponsored by: Centre for Interdisciplinary Studies in Society and Culture
– CISSC, Ethnography Lab, Milieux Institute for Arts, Culture, Technology