Publications

Publications

Nadler, Christina. (2015). “Deterritorializing Disciplinarity: Towards an Immanent Pedagogy”. Cultural Studies <=> Critical Methodologies.15.3.

Abstract:

This paper speculates on the pedagogical consequences of deterritorializing disciplinary knowledge. I suggest a move from knowledge as discipline to knowledge as an emergent potential of a field. Through this move, I propose an immanent pedagogy, based on the work of Deleuze and Guattari, in which students and teachers become active participants in a field of knowledge. This field is not only a way out of disciplinary knowledge but a mechanism for students and teachers alike to critique and subvert disciplinarity. My understanding of knowledge production is based on the ontological and immanent capacity of students to learn and produce. In developing the idea of deterritorializing the classroom, I will draw from literature on decolonizing pedagogy and knowledge production (Diversi & Moreira, 2009) as well literatures that engage with digital pedagogies and activism.

Jones, Stephen and Christina Nadler. (2015). Review of “What Animals Teach Us About Politics” by Brian Massumi. Itineration: Cross-Disciplinary Studies in Rhetoric, Media, and Culture.

Nadler, Christina and Megan Turner. (May 2014). “Between Meaning and Becoming: Some Introductory Notes on Queering the Noise”. Lateral, Volume 3.

Excerpt:

In reference to his contribution to the Museum of Modern Art exhibit Soundings, German sound artist Carsten Nicolai states, “Our body produces sound, our body is sound.” Calling out the presence of chaos within order, his work wellenwanne lfo (2012) challenges normativity by rendering the inaudible visible as the rippling waves in a water tank. By destabilizing the boundary between the phonic and the optic, Nicolai’s work effectively queers sound. Beyond merely representing the aural, wellenwanne lfo (2012) embodies sound. In this respect, it highlights some of the tensions between meaning and becoming that Queer the Noise means to engage. Instead of simply representing sound, Nicolai’s project engages the becoming of sound as a body without organs, which refuses the normative functioning of the body. Here, normative sensation blurs. In this Deleuzian move, we no longer just hear sound, we see sound, we feel sound, or as Nicolai states in the above description, we are sound. For us, this is an expression of our queer capability. Queerness is a refusal, a calling-out of, an I-forgot-to-even-notice normativity. This is not just sexual, yet it is always sexual and always bodily. When we realize the sounding capabilities of our bodies, what kinds of queer noise can we make?

 

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