Search results for: Springgay Stephanie

This article engages with Guattari’s query about, how to make a classroom operate like a work of art? Guattari’s thinking engenders a way of thinking about art as an affective event that has the capacity to invent new relations and new ways of learning. In the first section, the authors attend to concepts like “objectile” and “depth perception” in order to think about difference affectively. From there they discuss Deleuze’s movement-image and time-image in order to problematize humanist notions of recognition and generosity and propose a politics of experimentation that is never fully intelligible and known.