[pt] O trabalho que aqui se apresenta tem como objetivo restabelecer o diálogo de Deleuze com a psicanálise, outrora interrompido em Mil Platôs, a partir de uma interlocução entre a filosofia deleuziana e a psicanálise winnicottiana. Defendemos a tese de que o paradigma winnicottiano se constitui como uma “língua menor” dentro da própria psicanálise, que rompe com as limitações estabelecidas pelo campo psicanalítico ortodoxo. Visando dar corpo a tal proposta, o trabalho se de-senvolve a partir de três eixos principais: a) uma releitura do masoquismo e do sadismo que resolva os problemas apontados por Deleuze (e Guattari) na abordagem dessas assim nomeadas perver-sões, pela psicanálise tradicional. Para tanto mobilizamos a crítica de Winnicott à noção freudiana de pulsão de morte e uma desconstrução da própria noção de nor-malidade. Com isso visamos defender – apoiados em uma leitura conjunta dos três textos de Deleuze dedicados a Masoch, juntamente com a teoria da agressividade winnicottiana –, uma leitura positiva do masoquismo que o despatologize, compre-endendo-o como uma manifestação da criatividade na vida erótica; b) partindo de uma genealogia do complexo de Édipo, procuramos demons-trar como as críticas de Deleuze e Guattari são compatíveis com o paradigma ane-dipiano de Winnicott, onde localizamos uma proposta analítica que prescinde da noção que se apresenta como complexo nuclear das neuroses. Neste ínterim, par-tindo de uma abordagem da teoria do desenvolvimento emocional primitivo pre-sente em Winnicott, desenvolvemos o modo como o psicanalista inglês devolve a psicanálise à imanência, compreendendo a constituição da subjetividade a partir de um encontro singular entre os corpos da mãe e do bebê; e c) tendo em vista a insuficiência do paradigma edipiano, em consonância com as leituras de Deleuze e Winnicott, delineamos de que forma se configura a produção de subjetividade da modernidade até o momento atual. Partindo do pressuposto de que a produção de subjetividade não pode ser compreendida de modo apartado do contexto sociopolítico, defendemos que a psicanálise winnicottiana está em sintonia não apenas com as demandas do sujeito contemporâneo, mas também com a leitura de Deleuze acerca do modelo clínico mais adequado à abordagem de seus mal-estares. Nesse sentido, por meio de uma ponte entre os autores, mos-tramos como em ambos os pensamentos encontra-se um fazer clínico cujo foco se dá na dimensão experiencial, pautado no cuidado e afastado do modelo interpreta-tivo característico da hermenêutica psicanalítica tradicional. / [en] The work presented here aims to re-establish Deleuze s dialogue with psy-choanalysis, once interrupted in A Thousand Plateaus. Starting from a dialogue be-tween Deleuzian philosophy and Winnicottian psychoanalysis, we defend the thesis that the Winnicottian paradigm constitutes a minor language within psychoanal-ysis itself, which breaks with the limitations established by the orthodox psychoan-alytic field. With this in view, we develop three main axes: a) a re-evaluation of masochism and sadism in order to solve the problems pointed out by Deleuze (and Guattari) in the approach of these so-called perver-sions, by traditional psychoanalysis. To do so, we mobilize Winnicott s critique of the Freudian notion of death drive and a deconstruction of the notion of normality itself. With that we aim to defend - supported by a joint reading of the three texts by Deleuze dedicated to Masoch, together with Winnicott s theory of aggressive-ness - a positive reading of masochism that depathologizes it, understanding it as a manifestation of creativity in the erotic life; b) starting from a genealogy of the Oedipus complex, we seek to demon-strate how Deleuze and Guattari s critiques are compatible with Winnicott s anedi-pal paradigm, which contains an analytical proposal that dispenses with the notion presented as the nuclear complex of the neuroses. At the same time, based on an approach to Winnicott s theory of primitive emotional development, we describe how the English psychoanalyst brings psychoanalysis back to immanence, under-standing the constitution of subjectivity from a singular encounter between the mother s and the baby s bodies; c) finally, considering the inadequacy of the oedipian paradigm, in conso-nance with Deleuze and Winnicott s readings, we delineate how the production of subjectivity is configured from Modernity to the present moment. Based on the assumption that the production of subjectivity cannot be understood apart from the sociopolitical context, we argue that Winnicottian psychoanalysis is in tune not only with the demands of the contemporary subject, but also with Deleuze s reading of the clinical model best suited to address their malaise. In this sense, by drawing a bridge between the authors, we show how in both of them we can find a clinical practice whose focus is on the experiential dimension, based on care and away from the interpretative model characteristic of traditional psychoanalytic hermeneutics.

This thesis explores recent Turkish-German film through a radically postrepresentationalvision of aesthetics and ethics. Post-representationalism as amethodology involves confronting conventional cognitive and hermeneuticapproaches to film, and going beyond representational schemes and nationalparadigms for a closer engagement with the aesthetic. This thesis puts emphasison tropes such as movement, gesture, process and becoming through anengagement with the writings of Gilles Deleuze and Félix Guattari as analternative to the theoretical models that dominate the scholarship on migrant anddiasporic cinemas which place emphasis on dualisms and notions such as culturaland national identity. It attempts to broaden the discussions on post-ReunificationTurkish German cinema by exploring a wide range of works including fiction,documentary and artist films dealing with labour migration from Turkey toGermany. The first chapter focuses on Thomas Arslan’s Berlin Trilogy andChristian Petzold’s Jerichow (2009) as ‘Berlin School’ films that convey adistinct aesthetic approach to labour migrants and their second generationoffspring in Germany, which tends to focus on questions of work and thechanging nature of labour under globalisation. The second chapter looks atdocumentary films by Thomas Arslan, Aysun Bademsoy, Harun Farocki andSeyhan Derin to re-evaluate the dominance of historical narratives and reassessthe documentary form as an archival and creative practice through new politicaland ethico-aesthetic paradigms. The third chapter investigates social realist genrecinema through Feo Aladağ’s Die Fremde (2011) and Yüksel Yavuz’s KleineFreiheit (2003) to explore whether new encounters with conventional aestheticsthat zoom in on gestures and movements can call into question the limitation oflinguistic and semiotic terms and categories of analysis. These chapters aim tomove beyond representational and definitive frameworks in favour of a creativecritical engagement with migrant film as a political vocation, which carries withinitself the potential to invent new forms of thought, resistance, movement andpeople.

Die Arbeit folgt dem Frontier-Mythos, einer Narration, die für die US-amerikanische Kultur von grundlegender Bedeutung ist. Der Gang von Ost nach West, den die Erschließung und Kultivierung des Kontinents beinhaltete, formierte auf verschiedenen Feldern eine mythologische Erzählung: in der Literatur- und Politikgeschichte und in einer Unterhaltungskultur, die um die Mitte des 19. Jahrhunderts in Form von Groschenromanen oder Wild-West-Shows entstand. Die thematischen Hauptaspekte der Arbeit richten sich auf Geographie, Technologie und Verkehr. Buffalo Bill''s Wild-West-Show, die die Geschichte der frontier als Kampf zwischen Zivilisation und Natur, also modernen Amerikanern und indianischen Ureinwohnern, erzählt, stellt dazu den Cowboy, personifiziert durch den Show-Impresario William F. Cody, in den Mittelpunkt. Der selbst in Bewegung befindliche Showbetrieb korrespondiert dabei der Geschichte, die er erzählt. Mehrere Tourneen nach Europa leisten zudem einen Mythentransport zwischen Alter und Neuer Welt. Dabei geht es insbesondere um die Betonung einer Differenz zwischen zeitlicher Vertikale und räumlicher Horizontale: also zwischen der statisch organisierten Ordnung des europäischen Königshofes (Ahnentafel) und der dynamisch verfassten sowie auf Brüderlichkeit gegründeten amerikanischen Demokratie (moving frontier). Dieses Muster diskutiert die Arbeit anhand von Mark Twains Roman "A Yankee from Connecticut on King Arthur''s Court" und Herman Melvilles "Moby Dick". Letzterer belegt, wie die phantasmatische Energie des Frontier-Mythos auch dann noch insistiert, als der Kontinent erschlossen und der Pazifik erreicht ist: als Kreiselbewegung um den Globus selbst. Hier scheint bereits ein imperialistisches Muster auf, das die USA im Zentrum einer neuen Weltordnung sieht. "Als ob sich die Welt gerade in Amerika gerundet hätte", dieses titelgebende Diktum entstammt Deleuze/Guattaris "Mille Plateaux", das im Hinblick auf seine psychogeographischen Implikationen eine Rahmentheorie der Arbeit bildet. Wie sehr die grundlegende mythische Narration vom Wilden Westen weltpolitische Konsequenzen zeitigt, belegt exemplarisch der letzte Teil der Arbeit, der den Einsatz des Hollywoodregisseurs und Westernspezialisten John Ford in Diensten des Auslandsgeheimdienstes OSS während des Zweiten Weltkriegs zum Thema hat. / The study examines the frontier myth, a narration that is of fundamental importance for the culture of the United States. The path from East to West, which includes the conquering and cultivation of the continent, forms on various levels a mythological narration: in literary and political history as well as in the entertainment culture that arose in the middle of the nineteenth century through penny novels and Wild West shows. The study’s main thematic areas focus on geography, technology, and transportation. In Buffalo Bill’s Wild West show, which narrates the history of the frontier as the battle between civilization and nature (i.e., between modern Americans and Native Americans), the cowboy as personified by the show’s impresario William F. Cody takes center stage. American show business, which was literally underway, thus corresponded with the story/history it told. Several tours to Europe additionally succeeded in transporting the myth from the new to the old world. In particular, this myth-transportation emphasizes a difference between temporally vertical and spatially horizontal planes, i.e., between the static order of the European royal court (family tree) and the dynamically conceptualized American democracy founded on fraternity (moving frontier). The study discusses this model through Mark Twain’s novel A Yankee from Connecticut on King Arthur’s Court and Herman Melville’s Moby Dick. The latter novel evinces how the phantasmagoric energy of the frontier myth even persists when the continent has been conquered and the Pacific Ocean reached – persists as the circular movement around the globe itself. An imperial model thus comes to light that sees the USA at the center of a new world order. The title of this study – “As if the world first became round in America” – comes from Deleuze and Guattari’s Mille Plateaux and its psycho-global implications offers a guiding theory for the work. The extent to which the foundational, mythical narration of the Wild West bears world-political consequences is demonstrated in the last part of the study, which investigates the deployment of the Hollywood director and Western specialist John Ford in the foreign secret service (OSS) during the Second World War.

Harm minimisation approaches to illicit drug use have proven extremely successful in reducing drug-related harm and improving health outcomes for those using drugs, their families and the broader community. Despite these successes, however, many harm minimisation programmes face strong community opposition, and many others are limited in their effectiveness by their reluctance to acknowledge the complex ways in which drug using contexts, social relationships, desire, pleasure and aesthetics are involved in the production and reduction of drug-related harm.[NP] Deleuze and Guattari’s ethico-aesthetic philosophy offers a conceptual framework through which to begin to grapple with the sensory and affective elements of illicit drug use and their implications for an embodied ethics. Following an introduction to their key concepts, this thesis explores the implications of their ontology for understandings of injecting drug use across four inter-related dimensions: the drug using body; urban spaces of injecting; public overdose memorials; and drug referenced, ‘heroin chic’ advertising imagery. It argues that aesthetics and ethics are complexly intertwined, and that ethically positive responses to drug use require an active appreciation of the ways in which aesthetics affect bodies and their capacities to form relations with others

Harm minimisation approaches to illicit drug use have proven extremely successful in reducing drug-related harm and improving health outcomes for those using drugs, their families and the broader community. Despite these successes, however, many harm minimisation programmes face strong community opposition, and many others are limited in their effectiveness by their reluctance to acknowledge the complex ways in which drug using contexts, social relationships, desire, pleasure and aesthetics are involved in the production and reduction of drug-related harm.[NP] Deleuze and Guattari’s ethico-aesthetic philosophy offers a conceptual framework through which to begin to grapple with the sensory and affective elements of illicit drug use and their implications for an embodied ethics. Following an introduction to their key concepts, this thesis explores the implications of their ontology for understandings of injecting drug use across four inter-related dimensions: the drug using body; urban spaces of injecting; public overdose memorials; and drug referenced, ‘heroin chic’ advertising imagery. It argues that aesthetics and ethics are complexly intertwined, and that ethically positive responses to drug use require an active appreciation of the ways in which aesthetics affect bodies and their capacities to form relations with others

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Thoughts about teaching were materialized at this research from places which are not only the teacher's activity. This investigation was permeated by poems, photographs, memories and artistic experimentations one of them being the installation andarilhagens (hikerages), produced from these elements. As a researcher I proposed to sweep the teaching figuration so that alternate possibilities to think teaching could be produced. Two years of Master's Degree were dedicated to experiment a hiking way of research, with no fixed living place, where walking produced the stops, and not the contrary. At the experimental hikerages, whether resting or at movement, there was attention to the scintillances which sprung, and from those, on the stops, I collected the ones which gave me velocity and overflowed my thoughts about teaching. These scintillances were not fixed and, by being that way, sometimes they were dressed as opaque, and many of their requested elements permeated the following pages and also left some voids which may be experimented by the readers who venture leaping onto them. Moving terms and concepts as archive, scintillance, diagram and virtual, this research has insinuated itself into that which can overflow, also leaving an invitation so that its written lines and images can be overflown by those who wish so. May the teaching activity I sought to overflow at the following pages continue to overflow at the encounters it may have from now on. / Materializei nesta pesquisa um pensar sobre a docência que se produziu a partir de outros lugares que não somente o de uma atuação docente. Poesias, fotografias, lembranças, experimentações artísticas sendo uma delas a instalação Andarilhagens , produzida a partir destes elementos permearam a investigação. Propus varrer a figuração docente, para que dali pudessem se produzir outras possibilidades de pensar a docência. Experimentei nestes dois anos de mestrado uma maneira de pesquisar andarilha, sem moradia fixa, na qual o andar é que produziu as paradas, e não o contrário. Nas andarilhagens experimentadas, seja em repouso ou em movimento, fiquei atenta às cintilâncias que brotaram, recolhendo, nas paradas que fiz, especialmente aquelas que me faziam ganhar velocidade e transbordar meu pensar sobre a docência. Vários elementos solicitados por estas cintilâncias que não são fixas e que, por assim serem, às vezes se vestem foscas, permearam as páginas que seguem deixando também alguns vazios que podem ser experimentados pelos leitores que se aventurarem a neles saltar. Movimentando termos e conceitos como os de arquivo, cintilância, diagrama e virtual, esta pesquisa se insinuou naquilo que pode transbordar, deixando também o convite para que suas linhas escritas e suas imagens sejam transbordadas por aqueles que assim desejarem. Que a docência que busquei transbordar nas páginas que seguem continue a transbordar nos encontros que ocorrerem daqui para frente.

This thesis presents a qualitative study of the role of devices in the technological innovation phenomena of two venture medical equipment companies located in the Midlands, UK. The inquiry takes an empirical and non-foundational approach based on post-ANT and process philosophy. In particular, the thesis employs the theoretical lenses of both ANT and post-ANT concepts, Deleuze’s and Guattari’s machinic thought and Michel Serres’ parasitic philosophy. The data for this thesis comes from a fieldwork study lasting around one year. The methodology is mainly based on interviews and observations of engineers, technicians and managers working in venture companies. The central argument of this thesis shows that the venture organizing process of technological innovation is the product of discursive and non-discursive elements that act in several forms, keeping the venture company working but crucially reorganizing it. The present thesis offers a conceptualization of the device as a parasite-selector that reorganizes the venture company’s work activities and brings novelty to their operation. Equally, the mediational power of diagrams - which presents constitutional indifference - participates in the definition and production of the engineers’, managers’ and technicians’ professional identities. The thesis shows how the ideas regarding innovation in use at Med Dialysis and Med Diabetes bring forth the necessity of a life that embraces the uncertainty and ambiguity of the market. As a consequence, engineers and technicians build their professional identities by embracing the uncertainty of the venture company. This thesis names this process ‘engineering the engineer’. This is a process that leads to the emergence of a professional identity that this thesis tentatively calls the ‘venture engineer’.

Der Artikel stellt eine der allerersten Beiträge von Alfonso de Toro zu Postmoderne und zum Postkolonialismus in den romanischen Studien sowie den ersten Beitrag zum Postkolonialismus und zu Postmoderne in Beziehung zum Werk von Jorge Luis Borges dar. Hier wird eine grundlegende und wegweisende Auseinandersetzung mit der postmodernen und postkolonialen Theorie und Praxis, die die Sprache, Terminologie, die zeitlich-historische Entwicklung, die Eingrenzung der Theorien sowie die Verschränkung beider Gebiete erfasst und in die Einführung der Konzepte ‚Postmodernität‘ und ‚Postkolonialität‘ einmündet. Als Basis für ein neues Verständnis von ‚Postkolonialität‘ dient das Essay von Borges, „Der argentinische Schriftsteller und die Tradition“ (1955) und für die neue Auffassung von ‚Postmodernität‘ greift de Toro v.a. auf die französische postmoderne bzw. poststrukturale Philosophen wie Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, aber auch auf Vattimo und auf Borges Erzählungen, u.a. wie „El Aleph“, „Tlön, Uqbar, Tertius Orbis', Pierre Menard Autor von Don Quichotte'. / This article represents one of the very first contributions by Alfonso de Toro to Postmodernism and Postcolonialism in Romance studies, as well as the first contribution to postcolonialism and postmodernism in relation to the work of Jorge Luis Borges. Here is a fundamental and pioneering examination of postmodern and postcolonial theory and practice, covering language, terminology, temporal-historical development, the delimitation of theories, and the intertwining of the two fields, culminating in the introduction of the concepts of ‘Postmodernity’ and ‘Postcoloniality’. Borges’ essay “The Argentinian Writer and the Tradition” (1955) serves as the basis for a new understanding of ‘Postcoloniality’. For a new conception of ‘Postmodernity’, de Toro draws primarily on French post-modern or post-structural philosophers such as Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, but also on Vattimo and on Borges’ narrations, such as “El Aleph”, “Tlön, Uqbar, Tertius Orbis”, “Pierre Menard author of Don Quixote”. / Este artículo representa una de las primeras aportaciones de Alfonso de Toro al postmodernismo y al poscolonialismo en los Estudios Romances, así como la primera contribución al poscolonialismo y al posmodernismo en relación con la obra de Jorge Luis Borges. Aquí, un examen fundamental y pionero de la teoría y la práctica posmodernas y poscoloniales que recoge el lenguaje, la terminología, el desarrollo temporal-histórico, la delimitación de las teorías, así como el entrelazamiento de ambos campos, culmina con la introducción de los conceptos de ‘posmodernidad’ y ‘poscolonialidad’. El ensayo de Borges “El escritor argentino y la tradición” (1955) sirve de base para una nueva comprensión de la “poscolonialidad”. Para una nueva concepción de la ‘posmodernidad’, de Toro se basa principalmente en filósofos franceses posmodernos o posestructurales como Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, pero también en Vattimo y en los cuentos de Borges, como “El Aleph”, “Tlön, Uqbar, Tertius Orbis”, “Pierre Menard autor del Quijote”.

Der Artikel stellt eine der aller ersten Beiträge von Alfonso de Toro zu Postmoderne und zum Postkolonialismus in den romanischen Studien sowie den ersten Beitrag zum Postkolonialismus und zu Postmoderne in Beziehung zum Werk von Jorge Luis Borges dar. Hier wird eine grundlegende und wegweisende Auseinandersetzung mit der postmodernen und postkolonialen Theorie und Praxis, die die Sprache, Terminologie, die zeitlich-historische Entwicklung, die Eingrenzung der Theorien sowie die Verschränkung beider Gebiete erfasst und in die Einführung der Konzepte ‚Postmodernität‘ und ‚Postkolonialität‘ einmündet. Als Basis für ein neues Verständnis von ‚Postkolonialität‘ dient das Essay von Borges, „Der argentinische Schriftsteller und die Tradition“ (1955) und für die neue Auffassung von ‚Postmodernität‘ greift de Toro v.a. auf die französische postmoderne bzw. poststrukturale Philosophen wie Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, aber auch auf Vattimo und auf Borges Erzählungen, u.a. wie „El Aleph“, „Tlön, Uqbar, Tertius Orbis', 'Pierre Menard Autor von Don Quichotte' / This article represents one of the very first contributions by Alfonso de Toro to Postmodernism and Postcolonialism in Romance studies, as well as the first contribution to postcolonialism and postmodernism in relation to the work of Jorge Luis Borges. Here is a fundamental and pioneering examination of postmodern and postcolonial theory and practice, covering language, terminology, temporal-historical development, the delimitation of theories, and the intertwining of the two fields, culminating in the introduction of the concepts of ‘Postmodernity’ and ‘Postcoloniality’. Borges’ essay “The Argentinian Writer and the Tradition” (1955) serves as the basis for a new understanding of ‘Postcoloniality’. For a new conception of ‘Postmodernity’, de Toro draws primarily on French post-modern or post-structural philosophers such as Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, but also on Vattimo and on Borges’ narrations, such as “El Aleph”, “Tlön, Uqbar, Tertius Orbis”, “Pierre Menard author of Don Quixote” / Este artículo representa una de las primeras aportaciones de Alfonso de Toro al postmodernismo y al poscolonialismo en los Estudios Romances, así como la primera contribución al poscolonialismo y al posmodernismo en relación con la obra de Jorge Luis Borges. Aquí, un examen fundamental y pionero de la teoría y la práctica posmodernas y poscoloniales que recoge el lenguaje, la terminología, el desarrollo temporal-histórico, la delimitación de las teorías, así como el entrelazamiento de ambos campos, culmina con la introducción de los conceptos de ‘posmodernidad’ y ‘poscolonialidad’. El ensayo de Borges “El escritor argentino y la tradición” (1955) sirve de base para una nueva comprensión de la “poscolonialidad”. Para una nueva concepción de la ‘posmodernidad’, de Toro se basa principalmente en filósofos franceses posmodernos o posestructurales como Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, pero también en Vattimo y en los cuentos de Borges, como “El Aleph”, “Tlön, Uqbar, Tertius Orbis”, “Pierre Menard autor del Quijote”

Thèse en recherche-création Cette version de la thèse a été tronquée des éléments de composition originale. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Cette recherche-création est issue de ce questionnement : qu’est-ce qui est en jeu dès lors qu’il s’agit d’intégrer et d’imbriquer l’improvisation (l’écoute active, corps agissant et réagissant au son en devenir) et la composition (écoute répétée, traitements fins, auscultation de la matière) dans une pratique électroacoustique ? Pour y répondre, j’ai développé un dispositif d’improvisation multipiste — intitulé le projet MissTake — axé sur des technologies hybrides (analogiques et numériques), l’instabilité et la non-linéarité dans une approche morphologique et ondulatoire des flux sonores. Trois compositions sont issues de ce questionnement. Mes pièces Volt_#1, Volt_#3 et Dancing on the Edge of Darkness, créées avec les matériaux sonores du dispositif, ont généré un processus de délestage dans les gestes compositionnels et les mouvements de spatialisation. L’analyse de ces œuvres utilise les concepts puisés dans le nouveau matérialisme et la philosophie de Deleuze et Guattari. Le projet MissTake, conçu autour d’un magnétophone à cassettes quatre pistes configurées en sans-entrée, est l’aboutissement de cette recherche-création. Le choix du multipiste, des sonorités bruiteuses et de l’improvisation libre a apporté un changement de visée fondamental dans ma pratique et donné lieu à un processus de décélération sur le plan temporel. En me concentrant sur le matériau sonore évacué du signifié, dans la perception et l’abstraction, j’ai pu développer une pensée de la musique comme ouverture sur l’indéfini, dans le sensible et l’inachèvement de la forme. / This research-creation begins with this questioning : what is at stake when it comes to integrating and coalescing improvisation (active listening, embodied gestures, acting and reacting to the sound in the making) and composition (repeated listening, refine and detailed treatments, auscultation of the material) to an electroacoustic practice? To answer this, I developed a multichannel improvisation device – called the MissTake project – focused on hybrid technologies (analogue and digital), instability and non-linearity in a morphological and undulatory approach to sound flows. Three compositions come from this questioning and device. My pieces Volt_#1, Volt_#3 and Dancing on the Edge of Darkness have generated a process of step-down compositional gestures and spatialization movements. The analysis of the works is based on concepts drawn from the new materialism and philosophy of Deleuze and Guattari. The MissTake performance, designed around a four-track cassette recorder configured in no-input is the culmination of this research-creation. The choice of the multichannel, noise aesthetics and free improvisation brought a fundamental change of focus in my practice and gave rise to a deceleration process at the temporal level of sound. By focusing on the sound material evacuated from any meaning, in perception and abstraction, I was able to develop a thought of music as an opening on the indefinite, in the sensible and the incompleteness of the form.