Mark Ingham a travaillé sur le concept du rhizome et ce dessin illustre bien le concept d’identité-rhizome.

Boy pool rhizome © Mark Ingham (


 “Alors que l’identité “racine” est héritée des ancêtres, localisable dans un lieu géographique et une histoire familiale, l’identité “rhizome” reste à se construire au présent. Elle n’admet ni un seul lieu d’origine, ni une histoire familiale précise, elle naît des relations qu’elle crée.”

(Traité du Tout-Monde)

***Fluid Memory Conference

Date:    Mon, 22 Jan 2018 22:46:58 +0100

From:    Irina Shapiro <irinad.shapiro@GMAIL.COM>

Subject: Fluid Memory: Open Set LAB Closing Conference

***Fluid Memory Conference: A Day of Lectures, Performances and Panel Discussions***

DATE: January 27, 2018

LOCATION: Netherlands Institute for Sound and Vision

Media Parkboulevard 1, 1217 WE Hilversum, The Netherlands



Dear all,

Open Set, in collaboration with the Netherlands Institute for Sound and Vision and AKV | St.Joost Master Institute, invites you to the symposium ‘Fluid Memory’. It is the public closing event of the multidisciplinary research program ‘Open Set Lab: Memories of the Future’.

While presenting the development of the Open Set Lab program we aim to inspire new debates and artistic research around archival matters. We invite you to engage in a conversation about the subjects and questions that have been at stake during the program: What are the conditions for rethinking our contemporary relations to the historical material, or reshaping public debates around it? What is the role of artists in this process and if / how it can be done through artistic means? Is there an artistic practice of remembering that can determine our relation to the present and future? At the same time, we will highlight the potentials for collectively building and re-shaping archives – and (collective or individual) memory – from the bottom up. In particular we will focus on the use of digital tools to activate archival processes and records, and, how archiving or appropriating archives in general can be used as tools in social movements, as ways to collectively (re)shape public debates.

Our special guests to address these questions include:

– Ernst van Alphen | professor of Literary Studies, Department of Film and Literary Studies, Leiden University;

– Tina Bastajian | media artist, archival/cross-media dramaturge, educator;

– Carolyn Birdsall | assistant professor of Media Studies, University of Amsterdam;

– Annet Dekker | assistant professor Archival Science, University of Amsterdam, and curator;

– Matteo Marangoni | artist and curator at the Instrument Inventors Initiative;

Alongside the presentation of the selected research projects and themes developed during Open Set Lab, this symposium will also see the launch of the new edition of the Open Set Reader. The Reader has been developed by the students of the Master in Design Curating & Writing at the Design Academy Eindhoven.

Entrance and participation is free, due to the limited amount of seating, we ask you to register.



During the period September 2017 – January 2018, a group of designers and artists from the Open Set Lab conducted research while exploring the archive of the Netherlands Institute for Sound and Vision. From their positions as visual makers and thinkers, the participants of the program examined how they relate to the archive as an institution, algorithmic environment and to the archival material itself. They encountered the archive from their own historical and social standpoints, from their disciplines, cultural backgrounds and subjective perspectives. They reconsidered the material and the structure of the archive in order to challenge it. They chased the ghosts and myths, conventions and icons, forgotten heroes and invisible voices in the archive, in order to show the structures and the power of the narratives living inside it.


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Becoming Rhizomatic

Hello, I work for the Bibliothèque publique d’information (public library), in the Pompidou Center, Paris. This library has an online magazine, Balises.

We plan to write an article on Edouard Glissant, the philosopher. It would be a mosaic of images. With each click on an image one would reach a definition of a concept of E. Glissant. We had thought of using an image of your site to illustrate the rhizome’s concept :

Would you agree to us using this image, along with the mentions that you would indicate to us and a link to your site?

Feel free to contact me for more information.

Best regards

Fabienne Charraire

Webéditeur- Service Webmagazine

Bpi – Département Lire le monde

01 44 78 43 89

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Quels que soient ses termes, ce message ne saurait constituer un engagement contractuel ou une offre d’achat de la Bpi, son intégrité et la qualité de son émetteur ne pouvant être garanties.


This paper reflects upon intellectual possibilities of Raymond Williams’ classic study The Country and the City (1975) within current urban and regional research. First, the paper canvasses the relevance of the book by constructing a frame of reference based on its citations in urban and regional studies. The principal findings of this approach discern frequent use of the main points developed by Williams in recent discourse. Thereafter the paper raises two issues that have been somewhat neglected in the present adoption of The Country and the City. First, the possibilities of the concept of structure of feeling still seem underdeveloped in urban and regional research today. The idea of generation-specific structures aims at the heart of the habit of urban theory-making. Second, drawing on the work on hierarchies of French anthropologist Louis Dumont the binary relationship between country/city shown in the book could be used as a fruitful methodological starting point for thinking about representation in more recent studies of spatial relationships.



I will be commenting the famous incipit to Deleuze and Guattari’s ANTI-OEDIPUS. Here is my literal translation of the first paragraph:

It functions everywhere, at times without break, at times discontinuously. It breathes, it heats, it eats. It shits, it fucks. What a mistake to have ever said the it. Everywhere it is machines, not at all metaphorically : machines of machines, with their couplings, their connections. An organ-machine is connected to a source-machine : the one produces a flow that the other cuts. The breast is a machine that produces milk, and the mouth a machine coupled to it. The anorexic’s mouth wavers between an eating-machine , an anal machine, a talking machine, a breathing machine (asthma attack). Hence we are all handymen: each with his little machines. An organ-machine, for an energy-machine: all the  time, flows and cuts. Judge Schreber has divine rays in his ass. Solar…

View original post 1,106 more words

What is a Dissertation? // What is an Education?

Hayden Westfield-Bell

BoyPoolRhizome by Mark Ingham

I think I stumbled on this article through Leiter Reports – but don’t quote me on that. I’ve got a Feedly library dedicated to philosophy feeds which I go through on occasion, and this particular article caught my attention. Here’s the full text, and I recommend you go and read it.

Essentially, Bharath Vallabha wanted to write a very different kind of dissertation – something non-linear, closer to Wittgenstein’s ‘web’ approach to writing. Unfortunately, due to the constraints of the education system and some internal decisions influenced by the commotion caused, this approach proved difficult and was ultimately shelved. I felt for Vallabha, as I’d struggled with something similar during my MA, and I wanted to respond to something in his lengthy post that made me feel incredibly uncomfortable:

[…] but about the sociological fact that I wasn’t seen as a genius, and so I couldn’t write the way Wittgenstein did. The more I thought…

View original post 983 more words

Teaching Students to Break the Rules

Channel View Publications and Multilingual Matters

This month we are publishing Nigel Krauth’s book Creative Writing and the Radical which explores the ideas of innovation and experimentation within creative writing. In this post, Nigel discusses how he taught students to break the rules and how the way creative writing is taught must change to incorporate the ever-evolving modern world.

I’ve taught creative writing for 25 years at Griffith University, but only in one course – my Radical Fictions course – have students thanked me for teaching them how to break the rules. In addition, they’ve said: ‘I wish I had taken this course at the start of my degree, not at the end of it’.

In reply I used to say: ‘You need to know the rules before you can break them well.’ But nowadays I don’t say that. The students know already that rule-breaking is part of the mainstream in literary publishing.

Creative Writing and the RadicalMy book Creative Writing…

View original post 730 more words