Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
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TY - JOUR
T1 - Geopower
T2 - AAG Annual Meeting
AU - Yusoff, Kathryn
AU - Grosz, Elizabeth
AU - Clark, Nigel
AU - Saldanha, Arun
AU - Nash, Catherine
PY - 2012
Y1 - 2012
N2 - Rather than understand art as cultural accomplishment, Elizabeth Grosz argues that it is born from the intensities of chaos and disruptive forms of sexual selection—a corporeality that vibrates to the hum of the universe. Grosz contends that it is precisely this excessive, nonproductive expenditure of sexual attraction that is the condition for art’s work. This intimate corporeality, composed of nonhuman forces, is what draws and transforms the cosmos, prompting experimentation with materiality, sensation, and life. In the book Chaos, Territory, Art: Deleuze and the Framing of the Earth (2008, Duke University Press, Durham, NC), that is the subject of this panel discussion, Grosz sets out an ontology of art, looking at its forms of emergence as territorialising force, sexual selection, and nonhuman power. In Grosz’s terms, art is an art of existence. This is not a narrow understanding of art as a practice that is about taste, cultural accomplishment, or a reflection of society, but an art that is—at its most provocative—an extraction from the universe and an elaboration on it. This ‘geoaesthetics’, that is both biospheric and biopolitical, presents a formable challenge to geographers interested in art, sexuality, time, and the territorialisation of the earth. How might we understand this distinctly different kind of biopolitics? And what might Grosz’s concept of ‘geopower’ offer in terms of a renegotiation of a more active ‘geo’ in geopolitics? Grosz argues that art is not tied to the reproduction of the known, but to the possibility of the new, overcoming the containment of the present to elaborate on futures yet to come. In this rethinking of sexual selection Grosz suggests an intensely political role for art as a bioaesthetics that is charged with the creation of new worlds and forms of life. Grosz makes a radical argument for a feminist philosophy of the biosphere and for our thinking the world otherwise.
AB - Rather than understand art as cultural accomplishment, Elizabeth Grosz argues that it is born from the intensities of chaos and disruptive forms of sexual selection—a corporeality that vibrates to the hum of the universe. Grosz contends that it is precisely this excessive, nonproductive expenditure of sexual attraction that is the condition for art’s work. This intimate corporeality, composed of nonhuman forces, is what draws and transforms the cosmos, prompting experimentation with materiality, sensation, and life. In the book Chaos, Territory, Art: Deleuze and the Framing of the Earth (2008, Duke University Press, Durham, NC), that is the subject of this panel discussion, Grosz sets out an ontology of art, looking at its forms of emergence as territorialising force, sexual selection, and nonhuman power. In Grosz’s terms, art is an art of existence. This is not a narrow understanding of art as a practice that is about taste, cultural accomplishment, or a reflection of society, but an art that is—at its most provocative—an extraction from the universe and an elaboration on it. This ‘geoaesthetics’, that is both biospheric and biopolitical, presents a formable challenge to geographers interested in art, sexuality, time, and the territorialisation of the earth. How might we understand this distinctly different kind of biopolitics? And what might Grosz’s concept of ‘geopower’ offer in terms of a renegotiation of a more active ‘geo’ in geopolitics? Grosz argues that art is not tied to the reproduction of the known, but to the possibility of the new, overcoming the containment of the present to elaborate on futures yet to come. In this rethinking of sexual selection Grosz suggests an intensely political role for art as a bioaesthetics that is charged with the creation of new worlds and forms of life. Grosz makes a radical argument for a feminist philosophy of the biosphere and for our thinking the world otherwise.
KW - Elizabeth Grosz
KW - Geopolitics
KW - Geopower
KW - Art
KW - Deleuze
KW - feminist theory
KW - Anthropocene
KW - Earth
U2 - 10.1068/d3006pan
DO - 10.1068/d3006pan
M3 - Journal article
VL - 30
SP - 971
EP - 988
JO - Environment and Planning D: Society and Space
JF - Environment and Planning D: Society and Space
SN - 0263-7758
IS - 6
Y2 - 1 March 1999
ER -