1. In Guattari’s work, as opposed to scientific paradigms, paradigms that are schizoanalytic, rhizomatic, and chaosmic, involving processes rather than structures.
psychoanalysis, which claimed to affirm itself as scientific, […] has everything to gain from putting itself under the aegis of this new type of aesthetic processual paradigm. [CM 106 CM=Chaosmosis]
2. A schizoanalytic approach to clinical treatment which, instead of describing the psyche in terms of structures or stages, views the production of subjectivity as a creative process.
Grafts of transference […] [issue] from a creation which itself indicates a kind of aesthetic paradigm. One creates new modalities of subjectivity in the same way that an artist creates new forms from the palette. [CM 7]
3. The creative capacity of chaosmosis, the emergence of order from chaos, engendering new autopoietic entities; this ontological process is exemplified by but not limited to artistic creation.
art […] engenders unprecedented, unforeseen and unthinkable qualities of being. The decisive threshold constituting this new aesthetic paradigm lies in the aptitude of these processes of creation to auto-affirm themselves as existential nuclei, autopoietic machines. [CM 106; see also 112] – J. W.
The Deleuze and Guattari Dictionary
Tu v dome:
Ladislav Durko – piano
Ali Kobzova – voice, violin
Bronka Schragge – cello
Ozo Guttler – drums
Martin Sutovec – banjo
The Heart asks Pleasure – first –
And then – Excuse from Pain –
And then – those little Anodyness
That deaden suffering –
And then – to go to sleep –
And then – if it should be
The will of its Inquisitor
The privilege to die –
Emily Dickinson 1830 — 1886