On Liberatory Strategies of Digital Nomads

The article presents selected threads of poststructuralist discourses, such as posthumanism and post-anarchism, to point out the affirmative understanding of the changes in human subjectivity and identity within the networked reality of transnational capitalism. The starting point for the argument presented in the text is Rosi Braidotti’s concept of the nomadic subject, functioning in a post-anthropocentric world inhabited by non-anthropic consciousness and anthropotechnical hybrids. The identity of such a nomadic subject is variable, flexible, and queer. The strategies of digital nomads, avoiding permanent points/places, and thus eluding essentialism, are presented as liberatory strategies of resistance.

Subjectobject and Movementmaterial: A Diffractive Reading of the Becoming of Dance through the Subject

With this study, which is linked to the research topic of ‘choreography’, I wish to contribute to our understanding of how internal and external factors are involved in the becoming of dance through the subject. I want to increase our understanding of the multilayered relationships that are ongoing in the becoming of dance and provide and develop understandings for didactical and pedagogical contexts. By studying my own praxis in a teaching context, I want to understand what is involved in the becoming of dance through the subject. In the article, I use post-humanist theories, with an emphasis on materialists such as Rosi Braidotti and her concept of the nomadic subject. The nomadic subject is fundamental for this study because it uses materialistic understandings of the world without renouncing the subject’s previous situational experience and embodied knowledge. In addition to the nomadic subject, I use concepts such as diffraction, intra-action and agents. These concepts have their roots in the theories of Karen Barad, also a post-humanist. I am interested in what agents are entangled in the process of becoming and what hierarchies are at work within my practice. I want to determine how they figurate and whether it is possible for these hierarchies to reach positions that are more anti-essential.

Feeling the Real: The Non-Nomadic Subject of Feminism

Nomadism as a spatial concept denoting uncharted movements has opened up non-static ways of theorizing the subject in feminist theory and beyond. But it seems that the nomads of the real world and their torturing wanderings today have irrevocably challenged the romance of unregulated movement and force us to radically rethink the very concept of nomadism itself. In this paper I address the aporias that women's entanglement in current mobility assemblages has raised in the ways we understand and imagine the subject of feminism. In doing so, I experiment with the concept of the non-nomad as an emergent figuration that retains the radicalism of nomadic theories, while pointing to their margins, shadows and exclusions.

Nomadic Making: Enacting difference through collaborative performance practice

This article considers how scored, collaborative performance practice enacts Braidotti’s Nomadic subject and disrupts advanced capitalism’s suture of object and subject formation (Lepecki), thereby offering a means for posthumans to ‘become imperceptible’ (Braidotti after Deleuze). Collaborative performance practice, I argue offers a lived experience of the non-unitary subject and political potential of pure difference. I suggest also that ‘spectator studies’ (Melrose) reconsiders its focus on object over process by arguing that choreographic knowledge resides not in the event or the performance score but the processes of assemblage and in-between relations of people and practices (Manning).

SUBJECTIVITY, CREATIVE ACT AND EROS OF WOMEN: "THE ESSENCE" COMIC AND SELECTED FEMINIST THEORIES

Starting from the modern interpretation of the theories: parler femme by Luce Irigaray (adopting a speaking position that will enable woman/women to articulate their own sexuality, speak with their own voice) and écriture feminine by Hélène Cixous (a text freed by writing a female desire that carries the potential of revolutionary transformations) I come to the theory of the nomadic subject by Rosi Braidotti (the central categories are movement, changeability and the endless process of shaping the subject). I ask questions about the possibilities and limitations of finding or building a female identity and subject through creativity, empowering women in the domain of images related to sexuality, and the right to talk about their desires as creating their own place in the space of culture. As an example of creative acts building subjectivity, I present an erotic comic "Being" which is the first collective work on Polish soil that is supposed to express erotic fantasies from the perspective of women.

Nomadic ethics and thoughtful ethics

Speak of the "subject" and "ethics" today must start from a different place or a non-place that understands the subject in his becoming and transformation, identifying him to recognize him, conceiving him as a subject in transit, a nomadic subject, which can be reinvented in an ethical exercise that is reflective of himself and himself, without forgetting his constant encounter with the other. This article of reflection aims to make an understanding and a journey through ethical developments, approaching a genealogy of it. Similarly, it tries to relate to the construction of subjectivity from the intimate, the public and the private, as a modes of action of the ethical in the subject and finally reflect on the transpositions of a nomadic ethic within multiple diasporas that allow a vision of modern ethics and possibility in the configuration of the subjects and their subjectivities. This reflection manages to conclude that ethics is always in gestation and reconfiguration depending on the new demands of a global system, as a form of power that encourages resistance as a way of transposing the ethical devices that shape the behavior and habits of the subjects

«Peregrina en mí misma»

The present essay aims at contextualising the production of Puerto Rican poet Julia de Burgos amongst migration writings, highlighting her divergence from patriarchal treintista ideology and her pan-American ideal that conciliates plurality of identities. Furthermore, the essay proves that, despite being related to difficult circumstances, the migrating identity of female Latin American subjects may acquire positive connotations when transposed into lyrical texts. For this purpose, the ecocritical analysis of a selection of texts by Julia de Burgos will show how the fluidity of the female nomadic subject is mirrored in an imagery related to nature and dominated by watery elements.

Writing the Nation

This chapter describes the development of Burgos's social, political, and creative consciousness during the 1930s. It focuses on her first poetry collection, Poema en veinte surcos (Poem in Twenty Furrows, 1938), where she creates images of routes, travel, and water as a way to escape containment. In Poema en veinte surcos, Burgos experimented with various styles of writing prevalent among Puerto Rican writers of the time, including telurismo and neocriollismo, the negrista poetry of Luis Palés Matos, and the eroticism of Luis Lloréns Torres. Her nomadic subject championing freedom and justice fundamentally and ideologically distinguishes her work and aligns her with the vanguardias. Eventually, the nomadic subject becomes a “form of political resistance to hegemonic, fixed, unitary, and exclusionary views of subjectivity.”

After Dada: Fluxus as a Nomadic Art Movement

In this article Stephen Wilmer applies Deleuze and Guattari's concept of nomadology to the Fluxus art movement that spread across the world, breaking down barriers between art and life, privileging concrete and conceptual art, and staging unusual events. He traces Rosi Braidotti's development of Deleuze and Guattari's concept into her notion of the nomadic subject in which she favours factors such as geographic movement, transnational identities, common space (in accord with the Deleuzian differentiation between the divisible earth or private property, and nomadic space which belongs to everyone), polylingualism, desubjectivation, becoming minoritarian, and thinking and acting differently. With this as a philosophical and political context, the author investigates some of the artistic practices of specific Fluxus practitioners, especially the shamanistic performances and fat and felt installations of Joseph Beuys that supposedly owed their inspiration to his experience with nomadic Tatars. Stephen Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He co-edited (with Audronė Žukauskaitė) Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016) and Deleuze and Beckett (Palgrave Macmillan, 2015). He edited ‘Theatre and the Nomadic Subject’ for Nordic Theatre Studies (2015), and co-edited (with Azadeh Sharifi) ‘Theatre and Statelessness in Europe’ for Critical Stages (2016).