Dissonence and Discord

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Dissonance and Discord: The Unbinding of Self

DISSONANCE AND DISCORD

Dissonance and Discord: The Unbinding of Self

In this essay, I am looking at the experience of the self, or the social individual, from the early modern period following the enlightenment and into the present time. I will be exploring the concept of the self as ungrounded, disassembled and incorrectly reassembled, attempting to exist in a space which is no longer recognisable.

I am beginning this investigation by exploring the bridging of the modern person with the development of a new understanding of the self. I will argue that at the early age of modernism, there was an awakening of the consciousness, as the learnings of the enlightenment and the scientific revolution become integrated into everyday life. However, I will also argue that as the world fell in and out of War and new machinic technology was being developed, there was an accompanying awareness that the world, experienced through new technologies that introduced steel power, warfare and speed, would never be the same. The world, in essence, had lost its innocence, just as the psyche of the soul became knowing, resulting in a coeval unraveling of the societal person and the expression of selfhood.

After discussing this concept, I will then present an alternative to the postmodern person in the from of feminism and feminist discussions of selfhood. I will present contemporary artists, Kate Mitchel and Tourmaline, who each ask us to look at self-formation and actualization in differing ways. I will argue that feminist theories present a way of creating a human conceived through a matriarchal based society. It is my premise that our contemporary world is unsustainable and built upon unsteady ground. What is needed is a new self, formed through storytelling and feminist frameworks, which allow for growth, equality, positive interaction and a true, durable self.

Modernist neurosis and the unravelling of selfhood

Modernity after the age of enlightenment birthed a selfhood that had lost its naiveite. Scientific discovery had presented a world that was made visible, from the workings of the sun to the machinations of the physiological body, the macrocosmic and microcosmic had moved from theological discourse and wonderous conjecture into axiomatic knowledge. The present world was broken down and reordered into human designed categories and systems. Severed from the constraints of ideology and placed into the clinical coldness of human thought, it is no wonder that the modern self, the I of the contemporary subject, emerged so fully formed. However, whilst fully formed as an individual of knowing, the modern self was not necessarily equable in their singularity.

The modernist scholar John Jervis describes the person of modernity as being traumatised by the mass of images and information surrounding them. For Jervis, the modern experience was crippling in its excess and the self was subsequently embodied in the experience of the world floating in knowledge. Jervis depicts modern self-hood as being one in crisis, perpetually constructed and performing its own becoming, caught in the excessive experience of perception. [1]

The modernist person is fully subjective yet seeking as part of their subjectivity the impossibility of autonomy amongst the masses of other subjective selves. What becomes necessary is a theatrical performance of selfhood- the perceiving, knowing, sensuous individual loosing themselves in the moment of almost erotic perceptual experience. Furthermore, just with all performance, what lies beneath is something else entirely, and in the case of the modern subject, this is a selfhood struggling against the vacancy of over determination.

The experience of modernity that Jervis describes is reflected in the novel, “Against Nature” written in 1884 by Joris-Karl Huysmans. [2] The protagonist of the novel is a wealthy aristocrat, Des Esseintes who has secluded himself to a country manor where he indulges his senses in order to experience sensations and retrieve memories. Money is no obstacle, and Des Esseintes uses his wealth and power to obtain any sensual pleasure he desires. In one scene, Des Esseintes explores his vast collection of perfumes to experience the pleasures and memories that the scents bring him. In describing how he analyses each scent down to its finite compounds, he likens the process to that of a psychologist.

“Des Esseintes studied and analyzed the spirit of these compounds and worked on an interpretation of these texts; for his own personal pleasure and satisfaction he took to playing the psychologist, to dismantling the mechanism of a work and reassembling it, to unscrewing the separate pieces forming the structure of a composite odor, and as a result of these operations his sense of smell had acquired an almost infallible flair. ” [3]

Huysmans, in having his character liken his way of living to one being full of action and thought but essentially empty, is in many ways preempting what the cultural theorist Theodore Adorno would later write in his discussions of the emergent science of psychology- both Huysmans and Adorno describe a process actioned through a capitalist exchange economy, full of seemingly meaningful action yet at its heart is ultimately meaningless. Huysmans, writing at the end of the nineteenth century, captured the anxious vacuousness of the modern experience that Adorno so brutally rendered in his discussion of the psychology of occultism almost 100 years later.

Adorno shows us a subject locked into a state of impossibility which he termed “verwaltete Welt.” [4] For Adorno, the modern subject lives in a capitalist system in which they seemingly cannot escape, continually pressured to ensure optimum productivity yet forced to exist under the threat of a leadership fixated upon self-destruction through economic mismanagement and warfare. He writes of the individual’s feeling of frustration and entanglement in the system of life in which they must operate, and who out of desperation must turn to delusional ways of thinking in order to make sense of their life.

Fixing anxieties to symbolic forms, such as star signs, allowed for life’s trajectories to be experienced when the reality of life was too harsh to bear. This turning to symbolic thinking and mystical escapism was symptom for Adorno of the desperate living that the Twentieth Century engendered, just as the obsession with sensuality was an indicator of the angst of the modern subject in the century before.

Like Adorno, the cultural theorist Walter Benjamin also viewed modern life as forcing a new way of experiencing the world. Benjamin saw modern life as being one of an overwhelming and frenzied expression of sensation. Everywhere lay new sensations and new ways of understanding life. The modern subject, as a result, existed in a state of shock and fragmentation, ultimately resulting in a loss of meaning. However, as the subject turned to symbolic thinking to integrate their experience of the world with their lives, there occurred a void, existing between symbolic and conceptual thought and in which certain dormant truths lay. A new style of philosophical thought was styled in response- the Denkbild or thought image. This method bought together the objects and experiences of the everyday in a way that allowed a momentary grasp of meaning to occur- the thought image. [6]

The denkbild responded to the quickened and fractured nature of modernity and for these philosophers, offered a way back to meaning in an increasingly meaningless world. In many ways, Walter Benjamins posthumously published and unfinished work, “the Arcades Project” was an offering to the philosophy of the denkbild. Made of fragmentary observations of his contemporary world of the arcades- the parading of Parisian society through the shopping arcades and malls, Benjamin’s observational fragments allow for the creation of denkbild in the readers mind as they experienced an elementary truth resting behind the snippets of writing, momentarily held before it slipped back into the liminal space between symbolic and conceptual thought. Benjamin and his contemporaries were grasping with a world that was speeding through progress and into possible annihilation- of meaning, time and life. Everywhere was a congruence of metallic beauty and form alongside a cleaving of time from experience. Nothing, including meaning, could be slowly mediated upon in the new world order of the fast-moving human, carried along in trains, automobiles, factories and the cinema.

The Cabinet of Dr Caligari and the modernist dystopia

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Film still , The Cabinet of Dr Caligari [7]

The Cabinet of Dr Caligari( Das Cabinet des Dr Caligari) is a German expressionist film of early cinema, directed by Robert Wiene in 1920. [8] The film portrays the evil hypnotist, Dr Caligari, who travels to a town fair where he performs his sideshow in which a young man, Cesare, whom Dr Caligari describes as a somnambulist, is displayed. Cesare is in reality under a hypnotic spell and controlled by the Dr who performs Cesare for the audience. Cesare can apparently tell people when they are to die and, as is later revealed, also commits murder at the Dr’s bidding. At the closing of the film, it is revealed that the whole story exists in the imagination of a man interred in an asylum.

The film can be seen as a pertinent expression of the modernist apprehensions that writers such as Benjamin and Adorno describe. It displays a world decidedly modern, yet a modern world that is dystopian and disordered at every turn. The sets are created to give a feel of displacement and fragility- doors seem ready to fall from flimsy frames, planes of perspective are misaligned, and the sets are painted in uneasy, cubist style forms. The Dr performs not in a clinical setting but in a carnival, a place where the usual social conventions are overlooked. Furthermore, the Dr keeps a man enslaved through the new science of hypnotism, a science which creates a monstrous human- devoid of feeling and rational thought, ready to kill at the bidding of its operator, his victims helpless to their fate.

The film doubles and redoubles reality and as we learn in the final scene, it is all simply a nightmarish vision of a madman, and we are thrown again into being disarmed by what is real and what isn’t. The character of Dr Caligari represents what Roland Barthes describes as an “absolute state of the flesh, which could neither be reached renounced” . [9] Dr Caligari and Ceseare symbolise the binding and unbinding of the modernist self, bringing release from the ignorance of the past whilst simultaneously entrapping subjects in a grip of machinic systems. Dr Caligari is the ultimate figure of early modernism, able to control the innocent through new technologies, straddling the divergent worlds of the old and new ways, both real and unreal, guilty, and innocent. He is the dichotomous expression of the early modern subject – fragmented, disordered, machine powered and dominated by the emergent forces of capitalism and the free market economy. Whilst Wiene’s film isn’t connected with the surrealist movement of the same period, however it displays a similar desire to represent the dystopic and often maniacal side of modernism.

Film still from The cabinet of Dr Caligari [10]

Andre Breton, in his second Surrealist Manifesto, written in 1929, describes the role of the surrealists as being concerned with finding the point at which the deep contradictions of life and death, past and future, real and imagined, cease to be contradictions, like a melting away of reality, the “annihilation of being into a diamond”. [11] The surrealists embraced the upheavals that modernity erupted into the new subject and began a turning inwards that would see them use strategies to remove the conscious hand of the individual and create art driven by the unknown waters of the unconsciousness. For the surrealists, modernism was an exultation, capable of destroying old outdated systems that had become shamefully irrelevant.

It was the related movement of Futurism, however, that truly captured the frenzied love of machines and progress that we still seem to be experiencing today. The first futurist manifesto is a feverish ode to the release through destruction that the tools of modernism offered. Point 9 of the Manifesto of Futurism declares, “we will glorify war- the world’s only true hygiene- militarism, patriotism, the destructive gesture of freedom bringers, beautiful ideas worth dying for, and scorn for woman”. [12] The futurists enthusiastically promoted fascism and saw beauty in all struggles, made more effective when powered by machinic technology. They embraced speed, aggression, and danger. They are the extreme of surrealism where all inner reflection has been emptied out and replaced with pistons and gears.

Bruno Munari “ and thus we would set about seeking an aeroplane woman” 1939,

photocollage, 27.5x 18cm museo Aeronautico Gianni Caproni, Trento [13]

Bruno Munari “They’ve even invented this. The world’s gone mad” 1939,

photocollage, 24x 18cm museo Aeronautico Gianni Caproni, Trento [14]

Bruno Munari “Nothing is absurd to those who can fly” 1939,

photocollage and ink, 26.5x 20cm museo Aeronautico Gianni Caproni, Trento [15]

Just at the surrealist poet Antonin Artuad would write longingly for a return to the death and destruction of the plague years, the futurists longed for a nihilistic reversal of life. For Artuad, the plague, through its annihilation of social norms and the cataclysmic destruction of community that occurred as death and disease took hold, created a unique moment of theatre, a dispelling of life into the absurd. The plague presented an opportunity to be released completely from societal frameworks. In the releasing of the social bonds and the slide into the grotesque and absurd, a purity of truth could be offered, not unlike the thought image that Adorno and Benjamin sought to find. “It appears that by means of the plague, a gigantic abscess, as much moral as social, has been collectively drained: and that like the plague, the theatre has been created to drain abscesses collectively” [16]

The feminist writer Naomi Klein has noted that contemporary western society and culture is built upon the problematic foundations of slave bodies and disposed land, in what she terms an “extractive worldview”. [17] For Klein, capitalist society has a founding relationship that rose out of the trauma of slavery and stolen land. Our capitalist foundational beginnings, in this sense, is already fouled, unjust, dishonest and lacking in care and justice. Klein and other feminists have argued that while our traumatic transition into modernism has eased into the more reflective and aware states of post modernism, we are still living in a world built upon patriarchal systems and unaccounted for imperialist crimes. The voices that were loudly heralding in the new world that modernism promised were often male, speaking over the voices of women offering alternative ways of processing the truths of a changing world. The futurists, surrealists and their protagonists were seeking an essentialism of reality, but they did so within the patriarchal society which remined unquestioned.

Witnessing the unseeable, the beginning of the end

The Tsar Bomba detonation [18]

The Tsar bomba was the largest nuclear explosion ever created. Detonated in the USSR at 11:32 a.m. on Oct. 30, 1961, the shockwaves circled the earth three times before the energy dissipated. Impossible to be seen by the human eye, the memory of the explosion exists only in photographic and film record. If humans were to cease to exist and, as is often warned, artificial intelligence replaced biological life on the earth, then this moment could in many ways be seen as the true birth of mechanical life- the moment when the machine witnessed the death mechanism of its parent and moved from the symbolic into the real. Whilst this film didn’t emerge until the USSR had ended, it is the ultimate example of the human capacity for destruction through technological capacity that is still relevant today.

The contemporary philosopher Paul Virillo writes of a world ungrounded and adrift, mediated by technology and the increased speeds of connectivity. For Virillio, we are experiencing an ordeal of time as the accelerated pace of life from technological interactions disrupts our chronological rhythms that have been inherited from old agrarian lifestyles. This unease leads to a disassociation from reality and a comorbidity of social disorientation.

As we use technology to view the world, we become addicted to instant information and the viewing of everything, including the person viewing, through the media screen. This leads to a loss of a sense of self and, as Virilio has noted, a person who is disembodied from place and time. Humans become consumed by technology. Like plants in photosynthesis, humans are object oriented not towards the sun but towards the multi screens of technological interfaces. [19] Fittingly, we can only ever witness our death exemplar of colossal nuclear explosion through a recording on a screen. Is there any way out of our urgent rush towards our extinction?

Psch et po and the Matriarchal possibility

Psych et Po was a French feminist movement originating in the early 1970’S which argued for the importance of combining psychoanalysis and feminist theory. The movement would later inform what is known as the French feminist school of thought, made famous through the writings of feminists such as Luce Irigary and Helene Cixous.

By combining psychoanalytical theories with feminism, Psych et Po was able to investigate the experience of women and place the female subject firmly within the symbolic order of the modern world. She became an active subject speaking on her own terms, with her own voice. By recognizing difference and using that difference to come together, women could affirm their own singularity and have a subjectivity in the world that was informed by themselves rather than patriarchal hegemonies. This was a movement of language, where discourse shaped new narratives and powerful self-transformation could occur. [20]

An important element of the feminist movements that came from this school of thought was recognizing the role of storytelling in destabilizing patriarchal systems. Narrative storytelling enacted a refusal to be situated within the false patriarchal narrative of equality for all. This refusal opened a space for a new narration of and by women. As women came together to share their stories, they gained a relational awareness of themselves, and a relational subjectivity was created. By starting with the desire to tell her story, and in the act of reciprocal storytelling, the woman self becomes suspended in externalized states that are birthed not in the patriarchal structures in which she exists, but in the unique subjectivity of the storyteller. Through the act of speaking and listening, a person’s difference in relation to another is made whole, in the interconnectedness and circularity of speaking and listening. The patriarchal dichotomy of the masterful (master’s) voice is broken down and new ways of relating are made possible, activated outside of patriarchal hegemonies. The inner and outer female self grows in relation to others, building a relational subjectivity, informed by each woman’s unique inner subjectivity. This knowing, active and visible female subject can travel through history and redefine the lived experience of other women. She becomes embodied with knowledge, moving past the self to inform cultural interpretations of history and society.

Psych et Po demonstrated how society and culture rests upon the interplay of signifiers and signified, or signs and their symbols, which shape meaning in the world. In this interplay of sign and symbol, language is the action that stops the oscillation of signifier and signified, allowing analysis, understanding and deep meaning to occur. If the patriarchal structures are going to be successfully destabilized, then language is the vehicle to do so, as the processes of storytelling and retelling creates a layering and intertwining of language, loosening it from patriarchal bonds and into alternative matriarchal epistemes.

Rebuilding the self through storytelling- happening now

Kate Mitchell is an Australian contemporary artist who looks at the use of magical thinking, the occult and new technologies to disrupt conventional dialogues. As discussed earlier, Theodore Adorno saw the turn towards occultism as an attempt to escape from the untenable reality that many people found themselves in. For a society purged of meaning through the relentless grind of work and consumerism, there would be an inevitable embracing of the unseen and unknowable to locate an answer to life’s meaninglessness that was palatable. However, while Adorno was scathing of the reliance on new age thinking for solutions, Mitchel takes a more compassionate look at how these ideas are used in today’s communities.

Mitchel’s work shows us a world in disarray and the everyday person’s response. In a world increasingly known through technology, she offers us solutions that are technologically bound, yet meaningful. Mitchel acts as the interlocuter between the audience, technology, and the unseen, often in the form of the spirit realm. She doesn’t ask us to decide on the existence of a spiritual dimension, she simply presents us with information. Talking about Mitchel’s work, curator Isobel Parker Phillip explains that the work, “makes you pause and reflect. At its most earnest, it asks us to be aware of how we move through the world. It encourages self-compassion”. [21]

In her latest work, “Open Channels”, Mitchel shows us our willingness to find answers for life’s questions in the machine intelligence of google, presenting this deep expression of crisis with a gentle empathy. In the work, Mitchel has gathered questions commonly searched in google. She has then approached people who claim to be channelers for the spirit realm. Mitchel then set up a conference call with each of the channelers and offered them the opportunity to answer the questions. The results are displayed in the exhibition. In one instance, the commonly asked question typed into google, “how to achieve equality” is answered by the spirit guide Merle, “choice is a dominion over one’s body”, Merle then goes on to link choice over one’s body as being the way out of poverty and thus the way to achieve equality. The ascended Master Mary Magdalene warn us that “those who hold onto patriarchy will not let go easily” We are told to, “be brave and courageous”. In the words of curator Isobel Parker Phillip, “‘Don’t succumb to despair. It’ll pass’. What’s wrong with that? We should be more careful with ourselves and others. Does it matter how we get there?” [22]

Adorno saw a danger in those without power turning towards structures that sit outside of societal institutions of power and control- the new guru, the fascist group, the religious extreme. When no other place holds your voice, these places of extremities will, with a debt to be redeemed at a later point. Adorno placed the new age communities in this group; however, Mitchel presents us with a kinder reflection of what is occurring. She seems to be saying that despite what you may believe, there is a message of love that the simulated voices offer. In a place of loss, hope and grief, where questions such as, “will my new work be well received” or, “will I get a pay rise” are asked of an AI search engine, an answer of love and compassion is tendered in return. In a world, that as Virillio has pointed out, is mediated by technology on so many levels, it seems sensible that it is to technology that we turn in our search for the unknowable, and it is love and compassion that we receive in response. Perhaps in a world of technology, it will be a compassionate voice of AI that retells our stories to us.

Installation View, wall text, Open Channels [23]

Installation View, Open Channels [24]

[

Installation View, question list detail, Open Channels [25]

Installation View, detail, Open Channels [26]

Tourmanline

Tourmanline is a multidisciplinary American based artist working in the space of trans, queer and black activism. In her work, she rewrites the past through narration, bringing to life in film people from the past that may not have been adequately heard or represented. Tourmaline views the layers that separate past and present, dead and alive as permeable. For her, history is malleable, and the past can powerfully speak to and inform the present, just as the present can change the past. She speaks of time as “folding in on itself” and uses different strategies to maintain her link with the past and its voices. [27] For Tourmaline, “Black people have access to magic” and this belief runs strongly through all her work. [28] In looking back to the past, she also brings it alive in the present, which is for her not a metaphor but a truth.

[

Film Still Atlanta is a Sea of Bones [29]

In his work, philosopher Gilles Deleuze describes a world existing in a constant state of renewal, where each person holds a finite expression of infinity in a state of forever unfolding, which he terms the fold. The fold is matter, flowing, folding, unfolding, “endlessly furling and unfurling in every direction”. [30] The experience of folding and unfolding is like swimming in an ocean, rising up the sea crest, glimpsing the sky, sliding down again into the ocean valley, subsumed by the sea. Everything is in this constant state of movement and flux as the folds of matter furl and unfurl. The fold, in constant motion and multitudinous, holding the infinite in finitude, so numerous as to be like dust, operates like a vibrational field. Perception occurs in and through the body and there exists in the world a number of actualities that become realized through the body. The folds that Deleuze describes holds the infinity of the world renewing where knowing is a continual, fluid motion. “I am forever unfolding between two folds, and if to perceive means to unfold, then I am forever perceiving within the folds”. [31]

Deleuze seems to describe what Tourmaline’s art gives voice too- a world that is permeable and porous, stable once you know how to communicate between the layers of reality. To perceive in this world, the conscious state must use analogy, finding resemblances in what it perceives instead of in axiomatic truth. Tourmaline does this, using the reflective medium of film to show the viewer her truths. Like a skryer looking for the future in a crystal globe, we, the viewer, when watching Tourmaline’s films, are shown a future where the voices of the past that we should know are activating the world they are in, made real through the film, existing in a portal of tourmaline’s making and speaking to us with real and present voices. Just as the character in “Atlanta is a sea of bones” emerges from the amniotic fluids of her bath to become flesh and bone, Tourmaline shows us how the past can be reanimated into living reality.

Film still Atlanta is a sea of Bones 2017 [32]

Conclusion: Remapping your Mind…. and society.

Stories are carried through symbol and metaphor and have the power to hold complex meanings within tangible ideas. Metaphor and symbology breathe life into our stories, bringing them within reach of the everyday as we act out in real terms the long threads of narrations that we have of ourselves. Stories help us to make meaning of life and the events we experience, so when the stories we tell of ourselves are negatively focused, we may reaffirm a negative narration by remembering events that confirm this particular outlook, weaving new narratives of suffering which permeates ongoing everyday experience.

Narrative therapy, as a psychotherapy tool, came into practice in the 1980’s and is used regularly today in clinical settings. In this treatment, narrative clinicians guide patients in re-narrating stories of loss into ones of hope. However, the benefit of narrative storytelling had been known and used by feminist consciousness raising groups for some decades before it became the mainstream treatment used today. When women and other subjugated people tell their stories, they place themselves within a relational context as unique individuals and in doing so, step out of the patriarchal confines that hold them. We need to retell the story of the new modern world and in doing so, heal the grief that resulted in aftermath of societies labor from the premodern state to now. If the patriarchal society inherited from the modernist post enlightenment world we live in is indeed, crumbling and fracturing into dust, as it seems to be, then it is time for the women and oppressed of the world to begin uttering their voices and speaking a new order. At the precipice of the dissolving past, as we watch the sunset of the failed states of patriarchies set, it is now the time for a new tenure.

Post- Scriptum

Who am I?

Where do I come from?

I am Antonin Artaud

and if I say it

as I know how to say it

immediately

you will see my present body

fly into pieces

and under ten thousand

notorious aspects

a new body

will be assembled

in which you will never again

be able

to forget me

Antonin Artaud [33]

footnotes

[1] JERVIS, J. 2018. Modernity and Modernism: Key Themes. , London, Palgrave Macmillan.

[2] HUYSMANS, J.-K. 2003. Against Nature UK, Penguin Classics

[3] ibid

[4] TSCHOFEN, M. 2016. The Denkbild (‘Thought-Image’) in the Age of Digital Reproduction. Theory, Culture & Society 33, 139-157.

[5] ibid

[6]benjamin, Walter. The Arcades Project/ Walter Benjamin. Translated by Howard Eiland and Kevin McLaughlin. London UK: Belknap Press, 1999.

[7] The Cabinet of Dr Calibari (Das Cabinet des Dr. Caligari), 1920. Directed by WIENE, R. Germany: Decla Film-Gesellschaft

[8] Ibid showing a closeup of the sleeping somnambulist Image credit Emiko Artemis 2022

[9] BARTHES, R. 2009. Vintage Barthes Mythologies, London, Vintage.

[10] The Cabinet of Dr Calibari (Das Cabinet des Dr. Caligari), 1920. Directed by WIENE, R. Germany: Decla Film-Gesellschaft image credit Emiko Artemis 2022

[11] OTTINGER, D. 2011. Surrealism , the Poetry of Dreams. In: ART, Q. G. O. M. (ed.). Brisbane, Australia: Queensland Government.

[12] (EDITOR), U. A. 1970. Futurist Manifestos, Boston USA, MFA Publications.

[13] LISTA, G. 2001. Futurism and Photography. In: ART, E. C. O. M. I. (ed.). London UK: Merrell Publishers Limited.

[14] ibid

[15] ibid

[16] ARTAUD, A. 1958. The Theatre and its Double, New York USA, Grove Press.

[17] IDEAS, F. O. D. 2008. FODO:The In-Between/08/Waleed Aly and Naomi Klien/ Our entanglements have been exposed. FODO. Sydney NSW: The Ethics Centre.

[18] HISTORY, M. 2022. The Tsar Bomba [Online]. https://militaryhistorynow.com/. Available: https://militaryhistorynow.com/ [Accessed 03/03/2022].

[19] VIRILIO, P. 2021. The Great Accelerator, Cambridge UK, Polity Press.

[20]Roe, Alex Martins. To Become Two , Propositions for Feminist Collective Practice. Edited by Susan Gibb Janine Armin. Germany and Australia: Archive Books, 2018.

[21]ALES, A. G. O. N. S. 2022. The Curatorium [Online]. https://www.biennaleofsydney.art/. [Accessed march 2022].

[22]ibid

[23] HD Video 95 min Kate Mitchell 2022 at Art Gallery SA for Free State the Adelaide Bienielle 2022 Image credit Emiko Artemis 2022

[24]HD Video 95 min Kate Mitchell 2022 at Art Gallery SA for Free State the Adelaide Bienielle 2022 Image credit Emiko Artemis 2022

[25] ibid

[26]ibid

27] SIMONOFF, C. 2021. Earthly Delights, Tourmaline talks about pleasure, freedom dreaming, and her new solo show. Artforum.

[28] Atlanta is a Sea of Bones, 2017. Directed by TOURMALINE. Barnard Center for research on women. Image still from movie image credit emiko artemis 2022

[29] DELEUZE, G. 1993. The Fold. Leibniz and hte Baroque, Minneapolis, USA, University of Minneapolis press.

[30] Ibid.

[31] Atlanta is a Sea of Bones, 2017. Directed by TOURMALINE. Barnard Center for research on women.

[32] UCSB, F. F. A. 2020. Tourmaline: artist, filmaker, activist [Online]. you tube: Feminist Furtures at UCSB. Available: www.youtube.com/channel/UCZ4bG7owSLzmuWZURq_wHJg [Accessed 10/04/2022 2022].

[33] ARTAUD, A. 1995. Watchfiends and Rack Screams, works from the final peroid

Boston Exact Change.

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