Schizoanalytic Cartographies Part 3: Guattari on Postmodernity

This is part three of my series of blogs on Félix Guattari's Schizoanalytic Cartographies. Please click here for part one and two:
1 - Psychoanalysis and Religion
2 - Guattari on Enunciation

This extract includes some of Guattari's comments on postmodernity. Here he critiques the demise of social relations in a somewhat polemic fashion, but despite that this extract does highlight some of the themes associated with postmodernism - style over content, the decline of grand narratives, etc.:

A certain conception of progress and of modernity has gone bankrupt, compromising in its collapse collective confidence in the very idea of emancipatory social practice. In parallel, a sort of glaciation has taken over social relations: hierarchies and segregations have rigidified, poverty and unemployment tend to be accepted today as inevitable evils, the unions cling onto the last institutional branches conceded to them and are imprisoned in corporatists practices leading them to adopt conservative attitudes that are sometimes close to the of the reactionary milieus. The communist left is irremediably stuck in sclerosis and dogmatism, whilst socialist parties concerned to present themselves as reliable technocratic partners have given up any progressive questioning of existing structures. It is not surprising, after all that, if the ideologies that once claimed to serve as a guide to rebuilding society on a less unjust, less unequal basis have lost their credibility. (page 36)

Does it follow that we are henceforth condemned to stand around like idiots in the face of growth of the new order of cruelty and cynicism that is on the point of submerging the planet, with the firm intention, it seems, of staying? It is this regrettable conclusion that numerous intellectual and artistic milieus effectively seem to have reached, in particular those who invoke the fashion of postmodernism. (page 36)

Whether they are painters, architects or philosophers, the heroes of postmodernity share an assessment that the crises the artistic and social practices are experiencing today can no longer lead into anything other than irrevocable refusal of any collective projectuality of any scale. Let's tend our garden then and preferably in conformity with the habits and customs of our contemporaries. No waves. Just vogues, modulated on the markets of art and opinion by means of publicity campaigns and opinion polls. As for ordinary sociality, a new principle of 'sufficient communication' will have to provide for the maintenance of its equilibria and ephemeral consistency. If one thinks about it, how much distance has been travelled since the epoch in which one could read on the banners of French sociology: 'social facts are not things'! For the postmoderns, they are now nothing more than erratic clouds of floating discourse in a signifying ether! (page 39)

If you are interested in other philosophical discussions on postmodernity and culture, I would also recommend the following texts:

Jean-Françoise Lyotard The Postmodern Condition: A Report on Knowledge
Fredric Jameson Postmodernism: The Cultural Logic of Late Capitalism

Schizoanalytic Cartographies Part 2: Guattari on Enunciation

This is the second of my series of blogs on Guattari's Schizoanalytic Cartographies. Please click here for part one: Psychoanalysis and Religion Thanks for all the hits on my first blog in the series, I hope this one is as popular.

I'd just like to define a couple of terms before I include an interesting section on enunciation by Guattari, where he provides a neat analogy with the conductor of an orchestra.

Assemblage
For Guattari (and Deleuze) individuals are multiplicities which come together briefly through movement and rest. The parts that make up the individual are not constant but are continually formed, disassembled and re-formed in different combinations. These parts do not belong to the individual, they only temporarily constitute her and emanate from the environment of that particular situation. This is an assemblage. Assemblages do not just refer to individuals but to any collection of this kind, and operate on a “plane of consistency”, which is not hierarchic in nature. At the point people are considered to be communicating, Guattari describe this as an “assemblage of enunciation”.

Deterritorialization
These types of topographical terms are what is great about Guattari's work in applying it to urban space and psychogeography, in the way that it enables me to do with schizocartography. Anyway...I am going to cheat with this definition as I don't have one of my own to hand. Here's Guattari's from The Anti-Oedipus Papers: "Territory describes a lived space, or a perceived system in which a subject 'feels at home'. Territory is synonymous with appropriation, subjectification closed in on itself. A territory can also be deterritorialized, i.e. open up, to be engaged in lines of flight, and even become deleterious and self-destructive. Reterritorialization consists of an attempt to recompose a territory engaged in a process of deterritorialization."

Enunciation is like the conductor who sometimes accepts his loss of control of the members of the orchestra: at certain moments, it is the pleasure of articulation or rhythm, if not an inflated style, which sets out to play a solo and to impose it on others. Let's emphasize that if an Assemblage of enunciation can include multiple social voices, it equally takes on pre-personal voices, capable of brining about aesthetic ecstasis, a mystic effusion or an ethological panic - an agoraphobic syndrome, for example - as much as an ethical imperative. One can see that all forms of concerted emancipation are conceivable. A good conductor will not attempt despotically to overcode all the parts on the score, but will be looking for the collective crossing of the threshold at which the aesthetic object designated by the name at the top of the score is attained. 'That's it! You've got it!' Tempo, accents, phrasing, the balancing of parts, harmonies, rhythms and timbres: everything conspires in the reinvention of the work and its propulsion towards new orbits of deterritorialized sensibility...(page 210)

Part three of the blog is here: Guattari on Postmodernity

Schizoanalytic Cartographies Part 1: Guattari on Psychoanalysis and Religion

Félix Guattari's Schizoanalytic Cartographies has finally been translated into English. I've been waiting for it for a year since I heard it was going to be published. This series of blogs will include some short discussions - or 'tasters' if you will - of Guattari's that are included in the book and you might find interesting. I've deliberately sought out the more jargon-free passages, so as to make them accessible to those of you who may be interested in the title of the blog, but not familiar with Guattari's own work:

Psychoanalysis is not a science; it is not an art, it is not for all that a religion - although it does mobilize powerful phenomena of belief, Freud is venerated like a Father of the Church, his first patients are celebrated like holy martyrs, his writings treated like the Gospel and the congregations that invoke him practise the excommunication of schismatics just like in the good old days of the Inquisition...I have already mentioned the difference in position of religious and psychoanalytic subjectivity with regard to scientific rationality, the first ostensibly separating itself from it, the second endeavouring to absorb it in various ways. Two other different equally deserve to be noted: 1) psychoanalysis requires a more active participation of its users in its rituals; 2) its myths are more deterritorialized that those of religion.

Psychoanalysis and the monotheistic religions have in common that they seek to grip subjectivity in ethical axes in conformity with the requirements of what I will call capitalistic logics, that is to say, systems of judgement proceeding by generalized equivalence, the conjuring and repression of animist intensities, the conversion of singular trajectories, the system of reiteration and circulation of formal entities on deterritorialized 'markets' (those of the economy, of morality, of art...) . Whilst, to achieve their ends, religions act by direct suggestion, by the imprint of standardized representations and statements, at least to begin with psychoanalysis gives free reign to a certain individual expression, the better subsequently to take it over and to submit of its own accord to other, perhaps even more tyrannical, kinds of stereotypes. Whilst religion, dare I say it, straitjackets subjectivity in the open air, psychoanalysis gets rid of some of the ballast of statements in order to concentrate its efforts on remodelling enunciation. (Guattari, page 43)

Part two of this series of blogs is here: Guattari on Enunciation
Part three of this series of blogs is here: Guattari on Postmodernity
If you would like to see a 'methodology' for using schizoanalysis in conjunction with psychogeography, please visit my website: Schizocartography

Postwar University Campus Expansion: Part 3 - The New Monumentality

Please click here for part 1 and part 2

In the summer of 2009 the Henry Moore Institute in Leeds organised an event called The New Monumentality. It comprised of a half day seminar supporting the current exhibition which showed artists responses to campus spaces exploring the architectural modernity of the 1950s and 60s of which they inherited. Two out of the three artists included work that had been influenced by the University of Leeds campus. The seminar was called Building the Future and examined modernist campus architecture in the context of cultural theory and architectural aesthetics. A campus walk followed the seminar at the end of the day.

During the seminar human the field of capital theory was discussed in regards to education. It has been used as an "economic device" since the 1960s as a way of measuring performance. (Fitzsimmons 1999: 1) It became popular at this time due to education being included as a key part of the global economy, and sees "human activity" as " the exchange of commodities and the notion of capital employed is purely a quantitative one." ( Fitzsimmons 1999: 3) This means that individuals sell their education (themselves) on the market, and their degree becomes part of the exchange value for their employment. What this capitalistic approach ignores, amongst other factors, is the value of knowledge as it is for the individual, because it only concentrates on the performative aspect of education, the input/output regimen. What we see as the corporatised university of today, has its origins in the 1960s where something that could be considered a Fordist or Taylorist approach began to be applied to education, as can be seen in the University of Leeds development plan in terms of moving bodies around the campus, and the economic and efficient use of space (as discussed on previous blogs).

It is the supporting structures in the form of the educational apparatus, the discourse of the university and the abstract and concrete space of higher education that helps form the subjectivity and identities of university students (today, even more than in the 1960s, at a time where course fees are now around £9,000 per year, students see their own degree in terms of an economic investment). In their article entitled 'Academic Architecture and the Constitution of the New Model Worker' Philp Hancock and André Spicer consider how campus spaces orient the subjectivity of students "towards the production of economically viable modes of identity conducive to the demands of a post-industrial economy." (2011: 91) While their article is a recent one, looking at a contemporary situation at Glasgow Caledonian University - their new library called the Saltire Centre - it nevertheless provides a spatial and ideological analysis which would be relevant in applying to any period of campus architecture.

(images courtesy of the University of Leeds)

Related Links:
The New Monumentality
The University of Leeds: A Very Short History

Bibliography:
Fitzsimmons, Patrick. Encyclopedia of Philosophy of Education, 'Human Capital Theory and Education', (1999), [accessed 25 September 2012]
Hanccock, Philip and André Spicer. 'Academic Architecture and the Constitution of the New Model Worker', Culture and Organization, 17, 2 (2011), 91-105.

Postwar University Campus Expansion: Part 2 - Campus as Urban Laboratory

(please click here for part 1 of this blog)

The 1960s campus development by Chamberlin, Powell and Bon (CPB) was the fourth of four main architectural moments for the University of Leeds. These periods had different architects (both in-house and hired ones) attached to them, were situated in different periods and had styles that were distinct from each other, both in design and often in the material used. The university inherited the Yorkshire College redbrick buildings from prior to its 1904 university charter, although still continued to use the terracotta bricks on occasion, as can be seen in the Beaux-Arts style Brotherton Library, completed in 1936. The campus site was redeveloped in the 1920s with Art Deco influenced buildings, often containing neo-classical elements like the Parkinson Building, and mostly made in Portland Stone, although not exclusively. While some of the previously planned buildings were not actually finished until after the war, it is clear from their style they emanate from the 1920s and 1930s, rather than their period of completion, sometimes the 1950s, as is the case with the Parkinson Building. The Parkinson Building is the iconic building associated with the University of Leeds (see image below). It appears as if it is the entrance to the university itself but was actually designed to be the entrance to the Brotherton Library and it is thought that the modern look of it would hide the, then considered, old-fashioned redbrick library behind it.

The 1960s and 1970s development, overseen by the in-house architect Geoffrey Wilson in conjunction with CPB, introduces what is considered by many to be Brutalist architecture, a term coined by the the education building architects Alison and Peter Smithson, although its ideas are oriented in Le Corbusier. At the University of Leeds the Brutalist architecture is manifest in the typical materials of concrete, glass and steel, epitomised by the Roger Stevens Lecture Theatre which now has Grade II listed status (see first image). On the campus itself, these differing architectural periods are buffered up to each other, creating both an interesting and aesthetically challenging dynamic which makes the space have a heterogeneous feel in its spatial representation. The challenge for the university and CPB, then, was manifold and included such problems as creating a holistic and cohesive campus, offering a look and feel that would signify the vision of a new university, and to do this within the scope and limitations set by both the university and the city itself. This holistic approach to the space and architecture is one of the qualities that Chamberlin, Powell and Bon were known for, and ultimately became one of the functional aspects of the new university campus at Leeds: "A university should have a sense of wholeness which is not fostered by segregated planning." (Chamberlin 1969: 3)

The second Development Plan (1963 - the first was published in 1960) concentrated on the area around what came to be known as Chancellor's Court and its surrounding precinct (see above image). This included departments for maths, science and also administration buildings along with what became the Roger Stevens Lecture Theatre, although the final design of the theatre differs greatly from the one that appeared in the plan). Such was the significance of the hiring of CPB for this project, that the two Development Plans became significant documents in their own right on an international level. And, William Whyte in his article 'The Modernist Moment at the University of Leeds, 1957-1977' (2008), even includes mention of these plans in his abstract, stating "The Development Plan also highlights the way in which architects of the British modern movement used universities as laboratories in which to experiment with ideas about community and proper urban design." (2008: 169) Having previously completed the famous Golden Lane Estate, along with the nearby Barbican complex in London (which included a school) and also two other schools, CPB themselves were seen as the architects du jour, and these development plans became a kind of 'blueprint' for the modern university.

Related Links:
Postwar University Campus Expansion: Part 1 - Channeling Venetian Plazas
Bodington Halls
The University of Leeds: A Very Short History

Bibliography:
Chamberlin, Peter. 'The Evolution and Realization of the University Development Plan', The University of Leeds Review, 12, 1 (May 1969), 3-17.
Whyte, William. 'The Modernist Moment at the University of Leeds, 1957-1977', The Historical Journal, 51, 1 (2008), 169-193.

Bodington Hall - An Outstanding Redevelopment Opportunity

This is the sign at the entrance to the out-of-town University of Leeds halls of residence, Bodington Hall. Interestingly, the University of Leeds seem to still be selling it as a conference venue. However, the website says this is the last semester that there will be students here.

I went for a dérive there today and it was looking a bit like a ghost town. In fact I saw more squirrels than people: only one student, two older people at a bus stop, a cleaner and a lorry driver. It's a large complex of halls, that up till now had 1140 beds. It has large sports fields, a social centre and its own one-way road system. Truly "an outstanding redevelopment opportunity"!

But what is the most significant of its attributes is this fabulous frieze by Hubert Dalwood, who was in the Fine Art Department at the University of Leeds for a while. I'm in the process of finding out its future.

The buildings of the style above were completed in 1963 and photos of them appear in the 1963 Chamberlin, Powell and Bon architectural plan (although the actual architects were Jones and Stocks). This is what the Times said about the halls in 1961: "a building of considerable grace and dignity". Nevertheless, I guess grace and dignity will be built over by some hideous "toy town" type of contemporary housing (call me cynical). These 1960s buildings (above) look pretty good and have in the large part been well-maintained. These other buildings (see below) look like they may date from the late 70s or early 80s. But I have no further information on them at present.

And what about this great chimney, which looks positively Victorian, although I'm sure it's from 1960. It's attached to something that looks like the engine room, which has a similar look to the 1960s halls.

This campus space is in 'the middle of nowhere', as it might be for a student wanting to be in the hub of things (in the rush hour it takes 45mins for students to get to the campus by bus). So, I thought I'd try and find what there was on-site for them in terms of amenities. I was surprised that I could get into the main hall, which I entered in an attempt to find coffee for myself. I saw a sign which said 'Bod Shop' but when I found Bod Shop, it was shut.

There was also a bar, which was only open on occasions, it said, due to lack of demand. And a billiards hall, which looks like it was still stuck in the sixties.

So, what is to become of this space when it is bought by a property developer? Well, I'm sure this fabulous building, which supports the lovely frieze, won't be kept. Look at those great windows and the elevated floor.

Click here to see a super aerial photo of the halls and to appreciate how large it is - oh, and to see the marketing blurb in terms of the sale: DTZ

Related Links:
The University of Leeds: A Very Short History
70s Photo of Mortain House, Bodington Hall
70s Photo of Vaughan House, Bodington Hall

Postwar University Campus Expansion: Part 1 - Channelling Venetian Plazas

The boom in campus expansion from 1960 to 1970 was the largest ever undertaken in Britain, with students increasing from 100,000 to 200,000 by the end of the 1970s and the number of universities almost doubling, with 46 reached in total by the end of the decade. (Birks 1972: 9) This was a monumental task for in-house university architects, bursars and estate administrators alike. Thus the undertaking of Chamberlin, Powell and Bon as Master Planners at the University of Leeds, rather than architects per se, enabled an outside influence to oversee the plan and provide time and skill in an attempt to both work within the existing campus space, and provide solutions to the potential problems attached to the expansion of that space.

The initial 1960s report produced by Chamberlin, Powell and Bon (CPB) was considered by them to be "a record of enquiry and research", rather than "a final pattern of development which must be accepted or rejected in toto". (CPB 1960: 7) It set out their original aspirations for the new university and contained images of Venetian plazas in order to suggest what an inspirational "civilized environment" for a university should look like. (CPB 1960: 40) This original plan also included a proposal for a circular reading room influenced by the style of the ruins of Nymphaeum in Tivoli, Italy and an additional great hall redolent of the Galleria in Milan, neither of which became manifest or even made it to the next plan which came out in 1963. The conclusion of the 1960s plan states the underlying raison d'être of the plan itself: "what is the problem? how can it be solved? how much and what type of building will be needed? how much land will be needed for this building? how long will it take? how much will it cost?" (CPB 1960: 97)

The final paragraph of the plan stresses the town and gown aspect of the university and how it should be more connected to the town, and finishes by saying "For it is no exaggeration to say that the confidence of a civilisation in itself may be judged by the value of its investment of energy and wealth in the widening of educational opportunities for the coming generations." (ibid.) It would be another two years before the next plan appeared, although work had begun on stage one of the actual campus development in that interim period.

Campus History:
Postwar University Campus Expansion: Part 2 - Campus as Urban Laboratory
The University of Leeds: A Very Short History

Bibliography:
Birks, Tony. 1972. Building the New Universities (Newton Abbot: David and Charles).
Chamberlin, Powell and Bon. 1960. University of Leeds Development Plan (Leeds: The University of Leeds).