Transversality

The paper establishes that the Thom-Boardman stratification result of singularity theory applies generically to the world of aggregate excess demand (AED) functions. In addition, if AED is analytic, then the number of Walrasian equilibria -including non-regular onesis finite.

This paper critically examines the Equality and Human Rights Commission's (EHRC) 2019 report into racism in United Kingdom Higher Education. After outlining the context of the report, the paper is situated within discourses of internationalization in higher education (HE)and those of investment, excellence and social mobility. Using transversality, an analytical tool developed by Gilles Deleuze, as a means of critiquing these connections, two groups of findings are presented. First, the report misrepresents the role of racism in HE as an isolated phenomenon rather than as an integral part of the discourse, logic and practices of internationalized HE. Specifically, it masks the discourses of investment, mobility and excellence that underpin it. Second, the report evidences, but fails to identify, the negative consequences of internationalization in higher education discourse. Specifically, discourses of investment, excellence and mobility are linked to the threat of decomplexification, securitization and, ultimately, ethical vacuity in HE.

La comunicación propuesta expone una selección de ejemplos que pertenecen a contextos de situación extrema: de urgencia económica, política, peligro o desastre; que estimularon la capacidad de creación y que vertebran el trabajo iniciado en 2010 en un entorno académico de posgrado de la Universidad Pontificia de Salamanca en Madrid denominado “Emergencia Creativa”.
En la investigación transversal anotada -asistida por el software Processing- colaboran los departamentos de Proyectos, Historia, Materiales y Urbanismo; y los primeros resultados se exhibirán en la próxima Semana de la Ciencia en Madrid.
Metodológicamente elabora una base de datos que desarrolla una Línea de Tiempo del tema en cuestión desde la perspectiva de tres técnicas comunes: el proceso, la acción y el recicle como pensamiento crítico. Estos panoramas están formados por 560 entradas de texto ilustradas por un código de color e icono, 400 imágenes y 400 fuentes alojadas en la red Delicious.
Temáticamente, Emergencia Creativa, es suma de tres genealogías: política y cultural, medioambiental y práctica arquitectónica (habitabilidad y espacios públicos).
Conclusivamente, la difusión de la Línea de Tiempo “Emergencia Creativa” desencadena una reflexión positiva sobre el verdadero papel social del arquitecto actual para posteriormente elaborar modificadores y estrategias de diseño de un futuro mejor.
https://emergenciacreativa.wordpress.com/2015/06/12/presentation-of-creative-emergency-presentacion-emergencia-creativa/

Encounters Beyond the Gallery challenges the hegemony of Western aesthetics in the global arena of contemporary art and argues for a pluralization of art languages. It draws attention to the contemporary art's disavowal of ethnic arts, and experimentally expands relational aesthetics into the realm of culture by staging transformative encounters between the work of Rirkrit Tiravanija, the art of Tamil women and the Shipibo-Conibo of Eastern Peru, that are mediated through the figure of the fictitious artist Rikki T. The book  draws on Deleuzean notions of perception, Deleuze-Guattarean aesthetics of affectivity and of the non-human as well as Guattarean ecosophy. It experiments with transversality as method and modes of writing, and is essential to those interested in contemporary art, aesthetics, anthropology and the global.

Congresso Sertanejo de Computação
18 a 20 de Setembro de 2019
Patos, Paraíba, Brasil

Organizadores: Rodrigo Alves Costa, Jannayna Domingues Barros Filgueira, Fábio Júnior Francisco da Silva, Ingrid Morgane Medeiros de Lucena, Pablo Roberto Fernandes de Oliveira

O SERCOMP busca, a partir deste ano de 2019, seu espaço na comunidade acadêmica para divulgação de iniciativas e estudos em espaços formais de computação e tecnologias digitais de informação e comunicação (TDIC). Como se pode perceber neste volume, o trabalhos publicados tiveram um caráter aplicado, refletindo o conceito moderno da integração entre ensino, pesquisa e extensão.

Editora: Pimenta Cultural (2019)
ISBN: 978-65-86371-25-3

DOI: 10.31560/pimentacultural/2019.253

Eco-social art practitioners routinely foster cycles of multi-constituent translation, reflection and action, across lifeworlds, art, science, and other socio-political domains to progress new life-sustaining knowledge. This enquiry, however, reveals the absence of a guiding theory and a clearly articulated methodology for such transversal practices. A lack of a general theory and methodology, I argue, significantly hinders the education, practice, and appreciation of such practices’ value and, inevitably, understanding of the art and ecology field as an innovator of creative practice particularly suited to respond to 21st century eco-social concerns. As a consequence, the central research objective of this enquiry is to model, through creative practice and theory analyses, why, and how, a selected theoretical-methodological framework may articulate a clearer understanding of eco-social art practice. This framework formulates a foundation to advance sophisticated transversal practice responses, and makes a contribution to knowledge for the art and ecology field in articulating an accessible, transferable framework for eco-social art practice.

The proposed framework builds on my ongoing Hollywood Forest Story eco-social art practice, ecological knowledge and actions, and critical review of a suitable theory and methodology. From 2008, this includes transforming Hollywood forest, the monoculture conifer plantation where I live in rural South County Carlow in Ireland, into a permanent forest.

This thesis is framed by critical reflection on and is an extension of new mappings of the emergent art and ecology field. Suzi Gablik (2004), Sacha Kagan (2011), David Haley (2011a; 2016), Linda Weintraub (2012) and others chiefly view transdisciplinarity as best describing long-term art practices that aim for a deeper understanding of sustainability in emergent eco-social contexts. While transdisciplinarity is evident in such practices, I propose a hybrid theoretical- methodological framework to fully articulate the overarching purpose and common methodology of transversal eco-social art practices.

I apply Félix Guattari’s theoretical concept of ecosophy, which articulates transversality, with an action research methodological approach. I thus define eco-social art practices as working creatively in an ecosophical-action research mode to develop ecoliteracy and agency for their practitioners, collaborators and audiences. Such practices encompass emergent transversal endeavours directed by innovative, yet recognisable pattern of social enquiry. My research draws attention to recent advances in understanding the value of artful activities in action research for sustainability from Chris Seeley and Peter Reason (Seeley, 2011b; Seeley and Reason, 2008) and the usefulness, and under- explored potential of online social media to support the connected learning and sharing of eco-social art practice. The significance, challenges and transferability the eco-social art practice framework advances are characterised and evaluated in application to my practice and the exemplary eco-social art practice of Helen Mayer Harrison and Newton Harrison. From these studies, I conclude that the eco-social art practice framework has potential to advance understanding that transversal practices are as critical as scientific, economic and political responses to advance a life-sustaining, ecological turn.

Keywords: art and ecology, eco-social art practice, Guattari, transversality, ecosophy, action research, ecoliteracy, agency, blogging, continuous cover forestry, social art practice

This chapter advocates the need to perform a schizoanalysis of Western feminism in order to understand the nuance of larger global women's issues as well as be a corrective to the colonizing effects of Western feminism. Sholtz argues that a schizoanalytic approach that emphasizes the micrological level of desiring production is better suited to nuanced understanding of complex social, economic, and political issues as they intersect with feminism and examines how schizoanalysis opens up new ways of conceiving community and identity by emphasizing shifting localities and alliance through minorization. Thus, this chapter uses schizoanalysis to interrogate the molar within feminism discourse itself in order to form alliances with non-western and transnational feminisms, highlighting particular practices of non-western women such as Islamic veiling and Filipina diasporic migration in order to emphasize the necessity of critiquing the imperializing forces of globalization and capitalism. Sholtz argues that this engagement is crucial given the current state of our social and political fields, the intensification of control mechanisms, the mobilizations of unconscious desire and affective labor that Deleuze and Guattari could only anticipated but that contemporary feminism is in the process of critically negotiating.

According to Greimas, the semiotic square is far more than a heuristic for semantic and literary analysis. It represents the generative "deep structure" of human culture and cognition which "define the fundamental mode of existence of an individual or of a society, and subsequently the conditions of existence of semiotic objects". The veracity of this bold hypothesis has received little attention in the literature. In response, this paper traces the history and development of the square of opposition from Aristotle to Greimas and beyond, to propose that the relations modeled in these diagrams are rooted in gestalt memories of kinesthesia and proprioception from which we derive basic structural awareness of opposition and contrast-including verticality, bilaterality, transversality, markedness and analogy. The paper draws on findings in the phenomenology of movement, recent developments in the analysis of logical opposition, recent scholarship in (post)Greimasian semiotics and prescient insights from Greimas himself. The argument is further tested via multimodal content analyses of a popular music video-highlighting relationships the semiotic square shares with mundane cultural ideologies and showing how these relationships might be traced to memory structures of bodily movement. The paper highlights the neglected relevance of embodied chiasmus and illustrates the enduring relevance of Greimasean thought.

Dario Fo and Franca Rame, Italy's infamous married political satirists, have spent over four decades performing and politicking, using the stage to enact a Gramscian reclaiming of popular culture that simultaneously addresses pertinent sociopolitical issues with the goal of empowering the masses. Taking a nonliterary approach to the theatrical text, Fo and Rame place the immediacy of the issues and the theatrical expectations of their audiences above the posterity of the script, creating what they call "throwaway plays." These are plays written to address current sociopolitical issues that are purposefully left "open" to revision in response to unfolding national and international events and the reactions of their audiences during performances. Their "throwaway theatre" 1 is rooted in popular Italian theatrical traditions, such as the improvisatory, audiencecentered commedia dell'arte, and is purposefully crafted to provoke the spectators into taking a critical stance on their political and social surroundings. Self-fashioned as a modern-day guillare (medieval strollingplayer), 2 Fo advertises his and Rame's "illegitimate" theater as defiant of both the authorities in Italy and the common scholarly perspective of the theatrical text as a fixed and unalterable entity that functions as the centerpiece of a performance event.

The 2011 Israeli protest for social justice marked a change in the responses of Israeli citizens to political and social matters. The ways in which art and social change intersected during the protest, and the emergence of art collectives following the events, call for an understanding of the relation between art and politics in Israel. This article suggests an alternative reading of socially engaged art in Israel. To this end, I use Félix Guattari's notion of 'transversality' and Jacques Rancière's theory on the 'aesthetic regime' to highlight significant periods where art and politics have intersected in ways that have challenged Israeli art historiography, often neutralizing the political within an artwork. By using a theoretical framework that emphasizes notions of hybridity and the blurring of boundaries, I make new connections between times, places, and practices that go beyond the binaries of center and periphery, mainstream and alternative , and aesthetics and politics.

Following the thread provided by his lifetime of engagement with psychosis, this article considers a number of aspects of the writings of Félix Guattari in relation to the problem of untranslatability. Contrasting Guattari's approach with the structuralist diagnostic conceptualization of psychosis in terms of foreclosure, it follows the early development of his concept of transversality and the critique of linguistics that it leads to. Turning then to a consideration of the specific privilege Guattari accords psychosis, it addresses his constructive experimenting with theory as a way to rethink enunciation in terms of a semiotic 'energetics' that permits an effective problematization of the theoretical and practical privileges of the 'normal' structures of language within analysis. Finally, Guattari's approach to the challenge psychosis poses to the limits of language is contrasted to Cassin's conception of logology in its relation to untranslatables.

What do we mean when we describe the history of the Caribbean as traumatic? Is it possible to use the term 'trauma' here in a more technical sense, or should we give it the less strict connotation of an extreme form of an event in which the past no longer stays just in the past and the future never ceases to demand something from the pres-ent? In this paper I analyze the image of the abyss, used by Édouard Glissant to evoke poetically one of the beginnings of the Caribbean, as leading to a paradox on the attitude toward history: Caribbean communities have been burdened with a non-history that feels, at the same time, like too much history. I show that this image resembles the paradoxical structure of trauma developed in the works of Cathy Caruth, according to whom trauma is a paradoxical structure of experience in which the subject (or a community) is painfully possessed by an image that they have barely perceived and that is so minimal that it cannot be controlled. However, I argue, there are limits to this resemblance. I focus on the question whether the (traumatic) paradox is escapable in this region of the world, that is, whether Caribbean communities can be de-traumatized, and what are the connections of this possibility with the question, central to Glissant, of decolonization. In order to answer these questions, I analyze a central feature of the Caribbean history according to Glissant, transversality, to show in what way the paradox of history can be loosened.

Con la nueva Ley de Contratos del Sector Público se ha pasado a utilizar la contratación pública para lograr fines públicos distintos de los inicialmente previstos, hasta el punto de generar un probable encarecimiento del precio del contrato, en un uso desconocido, en principio, en los servidores públicos. No lo es tanto, la obligatoriedad de la inclusión de las cláusulas ambientales, imperativas en virtud de normativa específica. En su conjunto se presenta una actividad de fomento distinta de la tradicionalmente empleada por la Administración Pública. Cuestiones que es inevitable abordar, sin perder de vista la disyuntiva acerca del posible incumplimiento del principio de eficiencia que debe revestir la actividad contractual de toda Administración. / With  the  new  Law  of  Contracts  of  the  Public  Sector  it  has  passed  to  use  the  public  contracting  for achieving public ends different from the initially foreseen ones, up to the point of generating a probable increase of the price of the contract, in an unknown use, at first, in the public servants. It it is not so much, the obligatiry nature of the incorporation of the environmental, imperative clauses by virtue of specific regulation. In his set one presents an activity of promotion different from the traditionally used one for the Public Administration. Questions that it is inevitable to approach, without losing of sight the dilemma it brings over of the possible breach of the beginning of efficiency that must re-dress the contractual activity of any Administration.

This article examines creative practice-led research that uses transversality as an artistic process to generate ant-human relations. From the artistic perspective, transversality can materialize audiovisual performances with ants by employing technologies of visual and acoustic amplification; these are electronic assemblages made with piezoelectric sensors, computer vision, and infrared thermography, which reveal imperceptible qualities of ant behaviors. Whereas the concept of transversality remains active in philosophical discourses concerning human subjectivity, it has not been explored in artistic technological mediations that seek relational ties with nonhuman beings. The analysis that follows argues that ants are transversal beings whose movements cross boundaries affecting organisms and materializing ecological and multispecies relations. These relations can be amplified using electronic media in order to reveal the invertebrate aesthetics of ants as a different way to understand their social lives, and as an alternative passage for representing their sensorial capacities.

In this article, the researcher maps the collective aesthetic practices of a community of makers who have transformed a decommissioned missile base into a residence and community space. The site of the missile base is framed as an assemblage of physical and temporal universes mixed and layered, where its previous uses and occupation have formed a subjective residue that expresses itself physically via objects and architecture and mentally through a kind of collective memory inscribed in the site.

Félix Guattari’s (1992/1995) ecosophical approach to analysis is used to consider how subjectivity is produced through collective aesthetic practices, focusing on the potential of bringing communities together through anti-capitalist exchanges of time and skill. The concepts of transversality and dissensus are introduced to identify ways that art educators might work together across prescribed social groups and spaces to question habituated ways of thinking and acting, considering the revolutionary potential of art education to contribute to “a new art of living in society” (Guattari, 1992/1995, p. 21).

Normalization is inevitable within the university system, itself always in paradoxical tension between the two contradictory aims of providing a collective educational space in which genuinely new understandings can appear and training individual for a professional 'life as' that conforms to the status quo. Because an increasingly feral political and economic elite have done everything in its power to suppress the first possibility, it is all the more important to address arts practitioners who are interested in doctoral study as an educational experience, one concerned with an unconditional re-negotiation of the relationship between the "poetry of values" and "the prose of bureaucratically useful expertise" in and through their own lived experience.

In his three books J. Wentzel van Huyssteen develops a complex and helpful notion of rationality, avoiding the extremes of foundationalism and postmodern relativism and deconstruction. Drawing from several postmodern philosophers of science and evolutionary epistemologists who seek to devise a usable notion of rationality, he weaves together a view that allows for a genuine duet between science and theology. In the process he challenges much contemporary nonfoundationalist theology as well as the philosophical naïveté of some cosmologists and sociobiologists.

Findings and conclusions presented in this report reflect a summary of consultations in the target areas and with key stakeholders complemented by a review of the literature. This report was prepared by Karin Mackay and Mohamed Moustakim in good faith, exercising all due care and attention, but no representation or warranty, express or implied, is made as to the relevance, accuracy, completeness or fitness for purpose of this document in respect of any particular user's circumstances. Users of this document should satisfy themselves concerning its application to, and where necessary seek expert advice in respect of, their situation.

What is the main limitation of much modern macroeconomic theory, among the failings pointed out by William R. White at the 2010 Mayekawa Lecture? We argue that the main deficiency is a failure to incorporate the possibility of default, including that of banks, into the core of the analysis. With default assumed away, there can be no role for financial intermediaries, for financial disturbances, or even for money. Models incorporating defaults are, however, harder to construct, in part because the representative agent fiction must be abandoned. Moreover, financial crises are hard to predict and to resolve. All of the previously available alternatives for handling failing systemically important financial institutions (SIFIs) are problematical. We end by discussing a variety of current proposals for improving the resolution of failed SIFIs.

For: On Transversality - Research in Practice and Research Day One: Water https://ontransversality.wordpress.com/ Deep mapping is a folding of site specific representations in which epistemic and ontological dynamics of power interweave. As a process, it does not strive to either please or attain authority, making no claim on definitive opinion (Kavanagh, 2018). Rather, its diverse performativity connects into tentacular structures within which a conversation, or conversations, can flourish between multiple perspectives, creating a string figured (SF) enquiry (see Haraway, 2016). Fluid, fragile, flexible, deep mapping morphs and absorbs both traditional and unconventional inputs, provoking new insights through the ambient manifold of transversality; as a by-product rather than as an intentional aim. In this way, the inherent hybrid liminality facilitates poly-dimensional signification in accordance with Karen Barad's concept of intra-acting agencies (Barad 1999; 2003; 2007). This also tallies with what the moral philosopher Mary Midgley considered to be a pragmatic application of reason: "Much of the time, we are exploring unknown or partially known matters, and we use whatever forms of thought turn out to be needed for them" (2004:26). This 'many maps, many windows' approach is posited by Midgley as a response to Descartian reductionism in which (a misunderstood singularity of) science is hailed above all other disciplines. She countered this by arguing for a pluralistic reflexivity, maintaining that "all perception takes in only a fraction of what is given to it" (ibid) and therefore we should embrace our partiality, without self-limiting from the offset. This short presentation summarises these points, whilst emphasising how deep mapping as praxis can decentralise knowledge in such a way as to widen a research's audience, as well as to empower neuro-divergent and interdisciplinary thinking. Examples are offered via concrete poetry, where intersectionality is the raison d'etre of form, and also through a short film called 'Layers in the Landscape' (2016) (to be viewed separately).

What is the main limitation of much modern macroeconomic theory, among the failings pointed out by William R. White at the 2010 Mayekawa Lecture? We argue that the main deficiency is a failure to incorporate the possibility of default, including that of banks, into the core of the analysis. With default assumed away, there can be no role for financial intermediaries, for financial disturbances, or even for money. Models incorporating defaults are, however, harder to construct, in part because the representative agent fiction must be abandoned. Moreover, financial crises are hard to predict and to resolve. All of the previously available alternatives for handling failing systemically important financial institutions (SIFIs) are problematical. We end by discussing a variety of current proposals for improving the resolution of failed SIFIs.

[ESP] Este artículo profundiza en el estudio antropológico de la construcción de identidad en torno al equipo de fútbol del Athletic Bilbao. Su singular «filosofía», marcada por la defensa de «lo local», sigue vigente en un contexto donde el balompié está cada vez más globalizado. La investigación está basada en una serie de entrevistas semiestructuradas a 25 aficionados del equipo, residentes en Castilla y León (nacidos y no nacidos en el País Vasco), y aborda los motivos de adhesión y pertenencia al club, su interpretación de la política de jugadores y su posicionamiento ante el creciente mercantilismo que opera en el fútbol. La pesquisa muestra que las vinculaciones al Athletic Bilbao vienen marcadas por un modelo tradicional, en el que los clubes actúan como representantes de su entorno, combinado con una apreciación de «lo propio» como baluarte frente a las lógicas mercantiles que imperan en el balompié moderno. Consecuentemente, la identidad del Athletic Bilbao se encuentra marcada por una transversalidad de interpretaciones que los aficionados destacarán en función del momento y las circunstancias.
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[ENG] This paper delves into the study of the construction of identity around the football team Athletic Bilbao. Its unique «philosophy», defined by the defense of «the local», is still in use in a context where football is becoming increasingly global. This research is based on a series of semi-structured interviews with 25 Athletic fans residing in Castilla y León (born and not born in the Basque Country), and addresses the reasons for joining and belonging to the club, their understanding of the team’s policy on players and their positioning on the rising commodification of football. The study shows that belonging to Athletic Bilbao is defined by a traditional model, whereby clubs act as representatives of their surroundings. This model mixes with an appreciation of «the self» as a bastion against the market rules reigning over modern football. Consequently, Athletic Bilbao’s identity is marked by a transversality of interpretations that fans highlight depending on the moment and the circumstances.

We adventure becomings-Merry Pranksters with Félix Guattari on Ken Kesey's magic bus to resonate the group's transversality that we already affect subjunctively, individually and plurally from which our subjectivities crystallise collectively and independently with intensiveextensions to go viscerallectric and fractalactic. Yet in-process, before our consciousnesses go motored, we swim with jet streams of both Guattari and transversal poetics to navigate subjective affects by which wilful parameterisations achieve desirable eventualisations.

This text designs an analytic and narrative cartography of the process of creating the book Vocabulário político para processos estéticos (A Political Vocabulary for Aesthetic Processes), which I conceived and edited, and which included the participation of more than 30 authors – diverse artists, researchers and activists throughout Brazil. The book arose in the midst of a cycle of protests that questioned a series of anti-democratic and neo-developmentalist policies in Brazil, culminating in what has been called, variously, June Journeys, Brazilian Spring, June Cycle, and Disruptive June, among other names. This text is itself a cartography, in that, it narrates part of the bookmaking process, brings up a few marks of this process and opens new paths for investigation.
(...)
Here, I consider the concept of “transversality” through the practice of “cartography” as conceptualized by Félix Guattari and Suely Rolnik, further developed in Brazil today in “transversalist” academic research by scholars including Virgínia Kastrup, Eduardo Passos, Regina Benevides de Barros and Tania Maria Galli da Fonseca, among many others.
(...)
In this text, I will not investigate “intersectional feminism”, but I will appropriate the concept of intersectionality without removing it from its political background, while trying to activate it in the space and mode of happening for our Vocabularies.

This article provides a critical study of a New European Bauhaus initiative in the context of transversality, relational nature and sustainability of construction, architecture and civil engineering. Social and environmental factors in this ecosystem of innovation are highlighted, as well as the perspectives of actors within it. The relationships between art, technology and science of historical Bauhaus are assessed. The investigation of transversality was carried out using a visual tool developed by the authors, CATI, considering sustainability as the backbone. The New European Bauhaus is a pool of innovation that is supported by governments, academia, industry, society and the (natural) environment. It aims at social, environmental and cultural sustainability and includes ideas of social transformation. It is necessary to absorb the impact and overwhelming cultural consequences of previous and current Industrial Revolutions, principally relying on cyber–physical systems to generate spaces and collective intelligence. The climate crisis and the COVID-19 pandemic have increased the need for new approaches, expanding the concept of smart cities to smart territories, taking into account participation in society and general inclusivity.

This article—the first of a linked set of three outlining the development and practice of a different approach to science/religion dialogue—begins with an overview of some persistent tensions in the field. Then, using a threefold heuristic of encounter,
engagement, and expression, it explores the routes taken by James Ashbrook and Andrew Newberg to develop a dialogue between theology and neuroscience, discussing some of the problems associated with these and their implications for attempts to further develop neurotheology. Finally, it proposes a different way of thinking about this
enterprise and points toward a new methodology for supporting this endeavor.