heterotopia/Foucault

In short, this essay does for the concept of the assemblage what Deleuze and Giorgio Agamben did for Foucault in their essays on the dispositif: it extracts from a large body of work the core formal features of its operative methodology or logic.

The cruise ship is as much a process as an object. Indeed, while the ship appears stable in its material and affective form, this state is maintained only through the interventions of a vast array of human and non-human agencies. The cascading affects flowing from these interactions allow for alternative sociomaterial orders to be established through the suspension and splintering of fixed notions of time and space. This paper brings the theories of heterotopia and assemblage together, through a speculative realist ontology, to explore these temporal and spatial discontinuities, and the way they can create a sense of enclosure amongst passengers on-board. This theoretical approach is utilized to examine articulations of the cruise ship in the self-solicited blog entries of passengers that demonstrate both the mutable and emergent qualities of the ship and the way in which its seeming enclosure is subject to constant disruption. Rather than a static reading of the ship as a heterotopic ‘other space’, we propose that these spatial configurations are vulnerable to entropic forces and unruly agencies that frame the cruise ship as an emerging, rather than realized object, affording it the potential to enact alternative sociomaterial orders.

This article is concerned with the spatial analysis of lecture theaters in higher education institutions and it draws upon two concepts developed by Michel Foucault during the 1970s—heterotopia and the will to know. By examining the heterotopic potentials of lecture theaters where knowledge is rendered visible and articulable, the article argues that the notion of heterotopia is more relevant than panopticon for spatial analysis of these spaces. Heterotopias are defined as counter-sites inhabited by the abnormal, and as such include two dimensions. First there is an exclusion of the abnormal that is aimed at the fabrication of specific subjectivities, students and a more productive workforce. Second, as counter-spaces, heterotopias maintain a hopeful aspect that is providing an opportunity for unsettling the social norms. To support this exploration, the article uses higher education as a transitional environment for the production of an employable workforce and specifically focuses on auditoriums in universities. Contemporary lecture halls originating from the early modern anatomy halls are introduced as a strong spatial context for exploring the spatialization of knowledge and the construction of selves as subjects who desire to know.

En virtud del carácter difuso que Foucault atribuye a las relaciones de poder, es posible afirmar que la sujeción de los cuerpos nunca es absoluta, de modo que estos no son algo inexorablemente determinado por el ejercicio del poder. En este artículo se muestra de qué manera el cuerpo, en tanto que blanco principal de un poder preponderantemente físico, puede en forma eventual constituirse en escenario de des-sujeción y resistencia, en el “lugar” desde el cual ese mismo poder puede ser resistido. Esto, gracias a lo que en este artículo se describe como una “condición heterotópica” del cuerpo, que implicaría la excedencia y el desbordamiento de los procesos de sujeción, y que, en última instancia, permitiría hablar del “cuerpo experiencial” como el espacio en el que tendría lugar la puesta en cuestión de la propia subjetividad.

Palabras clave: Poder, resistencia, cuerpo, cuerpo experiencial, excedencia del cuerpo, heterotopía

In William Kentridge’s The refusal of time (2012), comment on time as both a scientific and a human entity is produced. A complex mix of the visual and nominal vocabularies of early ‘rudimentary’ technological invention, scientific experimentation and contemporary digital language
characterises the artwork. Conceptually, the structural, technological and visual components of the work predominantly articulate figure tropes of space, time and motion. The work is explored through the lens of heterotopia as articulated by French philosopher Michel Foucault, with special attention to the artist’s articulation of space, time and motion. The construal proceeds through the investigation of the visual metaphors implied by the organisation of space; the depiction of movement; time ticking; the allusion to human beings’ fascination with invention, science and technology; and the products thereof, especially the creation of automatons. Interpreting the work as representing heterotopic temporality in space, it is argued that such heterotopic entities defy clock time as stringent ‘regular’ time. Examination of the meta-narratives on science and technology alluded to in The refusal of time is conducted, including mention of the early development of
automatons; Modernistic French thought; advancements in Physics around 1900; and postmodern takes on science and technology.

Crear un intersticio sagrado para nacer. Un análisis antropológico de ejercicio de la partería profesional urbana en una casa de partos en México Yaredh Marín Vázquez To create a sacred interstice to be born. An anthropological analysis of the excersice of the urban professional midwifery in a midwifery house in Mexico Recibido: 1 de octubre de 2019. Aprobado: 2 de enero de 2020. Resumen En este texto analizo la práctica contemporánea de parteras profesionales urbanas en una casa de partos. Me interesa mostrar cómo estas mujeres construyen su profesión y lugar de trabajo en diálogo con procesos locales, nacionales y globales. Mi reflexión proviene del trabajo etnográfico con el equipo de La casa de Iemanjá, casa de partos ubicada en una de las metrópolis más densamente pobladas del país. Argumento que estas parteras construyen mutuamente su práctica profesional y la casa de partos como expresiones sacras en un esfuerzo por deslindarse del régimen biopolítico dominante de atención al na-cimiento. Mediante el análisis antropológico de prácticas, discursos, objetos y espacios, muestro la pertinencia de comprender la casa de partos como una espacio-temporalidad heterotópica, sustentada en una lógica que pretende subvertir y compensar procesos de violencia atribuidos al ejercicio biomédico, no sin traslapes, ambigüedades y contradic-ciones. Palabras clave: partería profesional, casa de partos, heterotopías, cualisignos, utopías, materialidad del documento. Abstract In this text I analyze the contemporary practice of urban professional midwives in a midwifery house. I am interested in showing how the parties build their profession and workplace in dialogue with local, national and global processes. My reflection emerges through ethnographic work with the team of La casa de Iemanjá, a house of midwifery located in one of the most densely populated metropolis in the country. I argue that these midwives mutually construct their professional practice and the midwifery house as sacred expressions in an effort to demarcate themselves from the dominant biopoli-tical regime of birth care. Through the anthropological analysis of practices, speeches, objects and spaces I show the relevance of understanding the delivery house as a hete-rotopic space-time based on a logic that aims to subvert and compensate the process of violence attributed to the biomedical exercise, not without overlaps, ambiguities and contradictions.

This article focuses on the dynamics between historical materialism in Walter Benjamin's sense and the postmodern rendition of the baroque metaphor of theatrum mundi in Peter Handke's play Die Fahrt im Einbaum that create a type of utopia which runs counter to not only the linear discourse of historiography but also the reductive logic of the mass media. The structure of the play is a contemporary version of the theatrum mundi, insofar as the role of God, the original author of the play of human life, is now assigned to the inscrutable history, the contemporary deus absconditus. The utopian project in the play, presented as a voyage by dugout, defies history through a form of memory which Benja-min termed Eingedenken. This memory resembles theology with its focus on the recurring utopian now-time, a messianic moment of recognition, which suspends historical linearity and prevents retribution for bygone injustices among the Balkan peoples.

Nwadjahane, a small village in southern Mozambique, is set apart from other settlements as the birthplace of Eduardo Mondlane, one of the nation's founding fathers. Declared a national heritage site and made into an open-air museum, Nwadjahane has become a landscape where national and local memories are negotiated. Mondlane is at once a national hero celebrated with statues, exhibitions, and commemorations, as well as locally linked to ancestors and memorialized through ritual sites and museum anthropo lo gy

The paper employs Michel Foucault’s ideas on heterotopias, outlined in
his essay Of Other Spaces (1984), to analyse the interaction of humour and
spaces in Edward Gorey’s works, with special emphasis on the book The
Evil Garden (1966). Foucault’s theory of heterotopias is used to provide an
understanding of Gorey’s fusion of sombre places and macabre tales with
his characteristically dry humour and to examine what Gorey’s heterotopias
can tell us about the problem of the categorisation of Gorey as an author of
children’s literature. In the reading of The Evil Garden, the paper illustrates
how Gorey’s disturbing heterotopias achieve a hybridity of spaces, genres,
tones, and reader roles in order to encourage polyvalent readings. Gorey
plays with the juxtaposition of various heterotopias, destabilising the
reader’s position through recurring motifs and intertextual allusions, but
the one element that is represented in all those “other” places is invariably
humour in all its different forms. It is precisely at the intersection of the
various spaces which collide in heterotopias that Gorey’s dark humour
emerges and performs its subversive function.

Teatr, ze wzglêdu na oczywistooeae swojego charakterku oraz jego wielowy-miarowooeae mo¿e byae postrzegany w kategoriach miejsca pedagogicznego. Szcze-gólnego znaczenia nabiera w tym oewietle idea Bajkobusu-teatru wêdrownego-który rozumieae mo¿na w kategoriach heterotopii. Za Mari¹ Mendel-prekursork¹ kategorii pedagogiki miejsca na gruncie pol-skim-Wychowanie, które niezaprzeczalnie jest ingerencj¹, zawsze dokonuje siê "gdzieoe" i ma swoje "miejsce", a w zwi¹zku z tym, ¿e stanowi wejoecie w dialektyczny zwi¹zek wycho-wanka ze oewiatem, jest te¿ metafizyk¹, ontologi¹, rozgrywaj¹c¹ siê w warunkach wzajem-nooeci i transcendencji 1. Mendel w swoich rozwa¿aniach na temat przestrzeni i kul-tury wychodzi od, ale te¿ przekracza rozumienie miejsca proponowane przez Michela Foucault. Opisane przez filozofa heterotopie-"miejsca inne"-zdefinio-wane zosta³y poprzez przeciwstawienie ich terminowi utopii, która jest miejscem bez miejsca, przestrzeni¹ nierzeczywist¹. Heterotopia zatem stanowi miejsce rze-czywiste, istniej¹ce w spo³eczeñstwie, a raczej na jego "obrze¿ach" i kszta³towane przez to spo³eczeñstwo 2. W rozumieniu Mendel kultura tworzy przestrzeñ, gdy¿ z³o¿ona jest z przenikaj¹cych siê "naszych" miejsc, którym my sami nadajemy znaczenie. Innymi s³owy, wspó³tworzymy oewiat, czyni¹c go "naszym", "miesz-cz¹c siê w nim", co znaczy "maj¹c w nim miejsce (miejsca)" 3. Jêzykiem autorki, kul-tura "stanowi miejsce miejsc", które przecina siê w ludzkich spojrzeniach 4-odbi-ciach materialnego wycinka rzeczywistooeci-a ujrzeae je mo¿e jedynie osoba "bêd¹ca-w-miejscu (heideggerowskie "bycie w oewiecie") i wchodz¹ca z nim w in-1 M. Mendel, Wstêp, [w:] Pedagogika miejsca, pod red. M. Mendel, Wydawnictwo Naukowe Dol-nooel¹skiej Szko³y Wy¿szej Edukacji TWP we Wroc³awiu, Wroc³aw 2006, s. 9. 2 M. Foucault, Of Other Spaces (1967), Heterotopias [online], dostêp: 18.04.2012, dostêpny w Inter-necie: http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html. 3 M. Ejsmont, B. Kosmalska, M. Mendel (red.), Obraz, przestrzeñ, popkultura. Inspiracje badawcze w polu pedagogiki spo³ecznej, Wydawnictwo Adam Marsza³ek, Toruñ 2007, s. 169-170. 4 M. Mendel odnosi siê do lustra postrzeganego przez M. Foucault zarówno w kategorii utopii, jak i heterotopii. Lustro stanowi przeciêcie siê istniej¹cego-heterotopii i nieistniej¹cego-utopii i spoj-rzenia osoby przed nim stoj¹cej; M. Foucault, Of Other Spaces…; M. Ejsmont, B. Kosmalska, M. Mendel (red.), op. cit., s. 170.

Öz: Michel Foucault; 19. yüzyılın tarih, 20. yüzyılın ise mekân çağı olduğunu belirtir. Bundan dolayı Foucault, toplumu çözümlerken mekâna özel bir önem vermiş; getirmiş olduğu "heterotopya" kavramı ile sosyal bilimler alanında mekâna dair söylemleri genişletmiştir. Heterotopya, kültürden kültüre farklılık gösterebilir ve tek bir mekânın içinde birçok zaman ve mekânı barındırabilir. Heterotopyanın bu iki özelliği, Ahmet Hamdi Tanpınar'ın Ankara, Konya, Erzurum, Bursa ve İstanbul'u anlattığı Beş Şehir adlı eserini çözümlemek için de önemli veriler sunar. Tanpınar'ın seçtiği beş şehir, birçok farklı medeniyete ev sahipliği yaptığı için farklı medeniyetlerin kendilerine özgü dokusu mekâna işlemiştir. Dolayısıyla bahsedilen her mekânda farklı zamanların izlerine rastlanır. Bu makalede Michel Foucault'nun çalışmaları ekseninde Tanpınar'ın Beş Şehir'inde yer alan heterotopik mekânlar incelenecektir. Abstract: Michel Foucault states that the 19 th century is the age of history, and the 20 th century is that of space. He attached special importance to space in analyzing societies utilizing the concept of "heterotopia", a term he introduced expending thus the discourse on space in the field of social sciences. Heterotopia can differ from one to another cultural areas and can accommodate different periods and places within a single space. These two features of heterotopia also provide important tools for analyzing Ahmet Hamdi Tanpınar's book Five Cities where he describes the cities of Ankara, Konya, Erzurum, Bursa and Istanbul. The five cities chosen by Tanpınar host many different civilizations, their unique nature embedded into space. Therefore, traces of different eras are observed in every place mentioned. In this article, heterotopic places in the Beş Şehir novel of Tanpınar will be examined following the theoretical framework of Michel Foucault's works.

Trepando el clóset en Bogotá: contra-historias y escrituras drag es el resultado de una investigación-creación de dos años de trabajo con colectividades drag y transformistas en el marco de las tres ediciones el encuentro “La Noche y las luciérnagas”, el cual es realizado desde la Maestría en Estudios Artísticos de la Facultad de Artes ASAB. Este trabajo es un caminar drag y transformista que toma distancia de los relatos diacrónicos de las luchas y resistencias de las colectividades LGBTI por sus derechos. Sin desconocer la importancia de esta Historia, se propone el concepto de contra-historia con el propósito de localizar fisuras que permitan develar olvidos o silencios no percibidos como tales desde una mirada drag. Así pues, con las contra-historias drag recurro a los conceptos de heterotopía y de escritura para hablar de espacios otros y así develar cómo han sido construidas las subjetividades drag en Bogotá desde 1980 hasta 2019. Así como la manera en que éstas establecen relaciones de afecto y solidaridad mediante la formación de familias drag como respuesta a la discriminación y violencias a las que son expuestas y que subvierten el modelo de familia tradicional en Colombia.

Dragging the closet in Bogotá: counter-stories and writings drag is the result of a research-creation of two years of work with drag and female impersonators collectivities in the framework of the three editions of the event “The night and the fireflies”, which is organised by the Master in Artistic Studies of the Faculty of Arts ASAB. This academic document is a drag and female impersonators walk that takes distance from the diachronic stories of the fights and resistance of LGBTI communities for their rights. Without ignoring the importance of this History, the concept of counter-stories is proposed with the purpose of finding fissures that reveal omissions or silences not perceived from a drag look. So, with the drag counter-stories I use the concepts of heterotopia and writing to analyze other spaces and, in this way, reveal how drag subjectivities have been constructed in Bogotá from 1980 to 2019. In addition, the way in which they create relationships of affection and solidarity through the formation of drag families as an answer to the discrimination and violence to which they are exposed and which subverts the traditional family model in Colombia.

This paper is focused on clarifying the concept and the phenomenon of aesthetic heterotopia. The paper takes as its starting point the cultural phenomenon of heterotopia itself and then reveals its aesthetical component in order to find the “topos” of aesthetic heterotopia in contemporary culture. Thus, the main task of the paper will be exploring the boundaries and the relations between possibility and reality in aesthetic heterotopia through W. T. Anderson’s central figure of the postmodern ironist as the only type of worldview with future. In this context, some important issues of contemporary philosophical aesthetics will be discussed, such as: what is the mechanism of creating new aesthetic heterotopias, and what is it based on? Why can the field of classical aesthetics not cover such a cultural phenomenon? Why can non-classical aesthetics also be called process aesthetics, and what do aesthetic heterotopias and the field of process philosophy have in common? And last but not least: what moral attitudes do plenty of aesthetic heterotopias encourage?

Drawing from the Foucauldian concept of`heterotopologyof`heterotopology', this chapter provides a spatio-temporal approach to research in Education contexts. Heterotopias are liminal spaces, portable territories that can be conceived of as 'other'. First introduced by Foucault in his 1966 book 'The Order of Things: An Archaeology of the Human Sciences', heterotopias provide a rich framework to query the politics of extraterritoriality in Educational spaces. In this chapter we offer an application of Foucault's six heterotopic principles as a disruptive methodology. We present two graphic organizers: the first listing pertinent authors and linking their fields of Education research and the second outlining the six different heterotopic principles. These may serve as points of departure to recognize and leverage non-normative possibilities in Education spaces.

El artículo ofrece una reflexión acerca del lugar y las modalidades de la práctica docente en contextos de formación. La intención es articular notas de índole crítica que puedan abrirnos a otras acciones en los trayectos de formación de formadores, desde un pensamiento situado y singular, sin pretensión de generalización y atendiendo al ejercicio
docente como una praxis de recomienzos. A partir de un texto de Foucault que caracteriza las heterotopías como contraespacios, reales y posibles, el trabajo analiza las narrativas como modalidad de formación que incluye otras textualidades así como lugares compartidos de aprendizaje (comunidades de indagación).

When Foucault looked in the mirror, he realized a certain spatial structure that lies between himself and his reflection, which actually doesn't exist within physical space. He identified this spatial form as Heterotopias, a form of space that exists somewhere between reality and utopia. It's real but doesn't serve or correspond to reality. Quite a synechodochic representation of heterotopias, Foucault reminds us that " we do not live in a void that could be colored with diverse shade of light, we live inside a set of relations that delineates sites which are irreducible to one another and absolutely not superimposable on one another " (Foucault, 1993, p. 421). What appears to be real also within heterotopias is the notion of signs, a parallel hyperreal world that encompasses the definition of reality to an extent that it has become the actual meaning of being. In Simulacra and Simulation, Baudrillard sets up imaginary stations where " the energy of the real to a city whose mystery is precisely that of no longer being anything but a network of incessant, unreal circulation – a city of incredible proportions but without space, without dimensions " (Baudrillard, 1981, p. 14). This paper attempts to use the works of both authors to give concrete grounds to the concept of heterotopias and applying them to gated communities, focusing on several cases in China. As a hypothetical discourse, gated communities are places where fragments of utopia and simulation coexist, where there is a blurry line differentiating between public and private entities, and where the illusion of safety flourishes in its most vivid forms (Low, 2008).

O presente trabalho é resultado de um trabalho de tese e vem no sentido de problematizar metodologias de pesquisa de cunho qualitativo. As derivas consistem em um caminhar lúdico pela cidade, uma errância, que se dá pelo movimento a priori sem determinação rígida, resultante dos encontros fortuitos e sugestões de percurso emergentes do campo. Quem primeiro escreveu sobre esta técnica, “de possibilidades múltiplas” foi Guy Debord, autor de “A sociedade do espetáculo”, quando era membro e líder da Internacional Situacionista. As derivas são bastante trabalhadas, debatidas, experienciadas por profissionais da arquitetura e do urbanismo por seu caráter crítico e político. Elas são estimuladas sempre no sentido de problematizar o desenho racional, cartesiano, que operam as propostas da arquitetura moderna. Para os situacionistas e os que colocam em prática a deriva como técnica de pesquisa, caminhar pela cidade sem um a priori é deixar de se nortear pelos sinais estabelecidos por outrem, para se deixar cativar pelo momento e o exercício de encantamento pelo público.
A cartografia é um método usado por diversas áreas do saber. Seu uso tem aplicações na arquitetura, no turismo, na geografia, na antropologia. Na Psicologia, ela é debitaria dos trabalhos realizados por Gilles Deleuze e Felix Guattari e alguns dos estudos encampados por Michel Foucault. Na arte de cartografar as relações micropolíticas ou jogos de saber-poder, coloca-se ao pesquisador o trabalho de questionar o uno, essa tendência de se pensar o social a partir de uma teoria globalizante, com formas homogeneizantes de compreender o social. A proposta de entender a heterogeneidade das práticas sociais e o perder-se no exercício da prática de pesquisa, é o que mais aproxima as derivas urbanas da cartografia. É no caminhar, inspirado pelo campo, que construímos um mapa de afetos, mas político e crítico. Um mapa que faz aparecer o “colorido” da cidade, na medida em que não busca somente ocupar o ambiente higienizado do espaço social. E é nessa busca contra o espaço ordenado que é possível se deparar com as resistências. Resistências que muitas vezes não são movimentos políticos organizados, mas são modos de existir e subjetivar diferentes do consenso social. Elas são formas de saberes sujeitados, em vários casos ocultado pelo poder, que no encontro com a pesquisa de caráter social, podem ser escutados. Tomar partido do uso das derivas urbanas como modo de visibilizar, desvelar, práticas sociais esquecidas, passa a ser premente no exercício e produção de um saber crítico e político para a Psicologia Social.

Why, when an individual wants to take to the streets at climate summits, set up a protest camp or protest against eco-political policy they are labelled by the media and politicians as anything from tree-hugger to the neoliberal neologism of ‘eco-terrorist’ ?(Arnold, 19891).
Drawing on environmental and media political discourse theory, the paper will such media representation emerges from power shifts away from activism towards environmental governance and free-market economics, nestled in a media discourse. An attempt to shift power back towards activism within environmental discourse has been made with social media, as a solution to limited resources and mobilisation of people as a co-ordinated form of protest. However, although some hail social media as helping to foster greater democracy, there’s a risk of over-reliance on social media strategies, resulting in too much focus on ‘hits’ and ‘likes’ and less emphasis on the rationale. Democratic change maybe aided by tweets and Facebook events (Ghonm2, 2012), but one over reliance on social media as a protest tool can also be detrimental to wider democratic practices.
Instead the paper argues that by exploring the space of environmental activism is a much-more effective mode of contentious politics. Where and when an action takes places is as significantly important as too why. For many activists, sites of contestations are part of ongoing affirmations to the historical importance of a familiar and workable space that furthers the goal of subverting the existing power structure. Whilst many contemporary activist movements are shaped by histories of social relations, economic practices and formations of political power; technological advances in communication in recent years have enabled activists to contest such power relations through social and new media, alongside mainstream repertoires of protest within the space of protest. Direct action, at or near sites of contestation not only shifts the media and political hierarchy, but also alters power relations between activists, the media and political discourse.
The empirical research draws on original interviews with a variety of environmental activists, newspaper and broadcast media coverage, archival research and activists’ literature. The archival data and media reports are scrutinised through the concept of Critical discourse analysis, in combination with the original empirical material. In doing so, this paper asks three important questions (1) why do such discursive structures by the mainstream media and governments frame protest in as a negative act of democracy. (2) What do social media offer as a mode of contestation? (3) How can environmental activists movements move away from the current media climate of negativity?