DANI KARAVAN’S PASSAGES AND THE POETICS OF DELEUZE|GUATTARI FOR RESEARCH AND PRACTICE IN ART EDUCATION
Open Access
- Author:
- Dubin, Elizabeth Andrews
- Graduate Program:
- Art Education
- Degree:
- Doctor of Philosophy
- Document Type:
- Dissertation
- Date of Defense:
- May 26, 2016
- Committee Members:
- Charles Richard Garoian, Dissertation Advisor/Co-Advisor
Kimberly Anne Powell, Committee Chair/Co-Chair
Charles Richard Garoian, Committee Member
Christopher M Schulte, Committee Member
William J Doan, Outside Member - Keywords:
- Gilles Deleuze
Felix Guattari
Walter Benjamin
Dani Karavan
Paulo Freire
Antonio Machado
Miles Horton
Poetics
Poetry
Art
Arcades Project
Passages
Icarus
Art Education
Rhizome
Rhizomatic Cartography
Sensation
Arts Based Research - Abstract:
- Dani Karavan’s Passages and the Poetics of Deleuze|Guattari for Research and Practice in Art Education is an arts based dissertation that theorizes Dani Karavan’s environmental installation Passages, an homage to Walter Benjamin in Port Bou, Spain, in relation with research and practice in art education. Exploring the rhizomatic assemblage of Deleuze|Guattari, this dissertation uses rhizomatic cartography as poetic arts based method. Based on the botanical concept of a networking system, and diverging from an aborescent model, Deleuze|Guattari refer to the rhizome as an image of thought that apprehends ideational multiplicities: the rhizome gives form to the ensemble of associations that converge/diverge in creative thought. The multiplicities that emerge from this networking process map and create the nodes, or main ideas, of this dissertation: an assemblage of borderlands, a revision of the Icarus myth, shelters of exposure, and the vicissitudes of motherhood. In this dissertation, I refer to the role of poetics in contemporary culture as one that involves a poetic language that resists being easily absorbed into the conventions of our culture through a close attention to dynamic form. The rhizome creates a form that is always in the middle; the dissertation becomes an assemblage of disparate elements that resist closure, or, in other words, I argue that this form of research creates a poem. The intensive formulations of such poetry embodies, through writing, the Deleuze|Guattari concept of sensation. Deleuze conceptualizes sensation as an aesthetic dimension that is coextensive but distinguishable from perception: “Sensation is not a faculty of the subject but, rather, the mutual limit of the subject and the object, a place in which these two aspects become indistinguishable, such that one can say that in sensation the subject is altered by aspects of worldly forces that are occluded by the perception of constituted objects. Perception, the discernment of an object that stands over against a subject, is a faculty of “figuration” insofar as it is the isolation, within a manifold of sensory information, of a distinct thing. Each art takes as its aim the reversal of this occlusion of sensation by perception” (Ford, 2005, p. 392). Central to the theoretical discussion of the logic of sensation is the idea of the figure. A Figure is a singular instance of sensation. “Sensation disorganizes the body of perception and in so doing it disorganizes perception. The figurative painting ‘tells you the story in a long diatribe through the brain’. Perception overwrites sensation and in so doing suppresses the forces that constitute sensation” (Ford, 2005, p.392). Finding ways to teach others to respond to works in the arts, to experience and understand the figures of sensation, is a significant project of art education. This dissertation offers one mapping of such a terrain.