![]() ![]() Bernard Tschumi’s Manhattan Tran-scripts’ (fig. The insistence on the participation of lines of subjectification to the production of subjectivity is related to the replace-ment of a passive spectator by an active one who is invited to rebuild in his mind and experience “the dynamic process of the emergence and formation of the image”. An aspect of the notion of dispositif, as interpreted by Deleuze, in “What is a dispositif?”, is the conception of lines of subjectification as processes. The concept of dispositif does not treat heterogene-ous systems – object, subject, language and so on – as homogeneous, assuming that the systems are composed of interacting forces that are in a continuous state of becoming, “always off balance”, to borrow Deleuze’s own words. It examines the implications of understanding architectural drawings as “assemblages” (agencement s) and “apparatuses” (dispositifs). A starting point of this paper is the consideration that there is a correspondence between Gilles Deleuze and Félix Guattari’s “assemblage” (agencement) and Michel Foucault’s “apparatus” (disposi-tif). ![]()
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