Assemblage Quotes

“To create something does not mean to see through to its depths; we do not drain our children to the dregs by begetting them, but set them loose in the world like wild dogs, beyond our control and often beyond our knowledge.”
― Graham Harman, Towards Speculative Realism: Essays and Lectures

“There is no question, however, of establishing a dualist opposition between the two types of multiplicities, molecular machines and molar machines; that would be no better than the dualism between the One and the multiple. There are only multiplicities of multiplicities forming a single assemblage, operating in the same assemblage: packs in masses and masses in packs.”
― Gilles Deleuze Felix Guattari

“In this vision, the worlds is conceived as multiple and performative, i.e. shaped through practices, as different from a single pre-existing reality. This is why, for Bruno Latour, politics should become material, a Dingpolitik revolving around things and issues of concern, rather than around values and beliefs. Stem cells, mobile phones, genetically modified organisms, pathogens, new infrastructure and new reproductive technologies brings concerned publics into being that create diverse forms of knowledge about these matters and diverse forms of action - beyond institutions, political interests or ideologies that delimit the traditional domain of politics. Whether it is called ontological politics, Dingpolitik or cosmopolitics, this form of politics recognizes the vital role of nom-humans, in concrete situations, co-creating diverse forms of knowledge that need to be acknowledged and incorporated rather than silenced. Particular attention has gone to that most central organization of all for political geographers: the state. Instead of conceiving the state as a unified actor, it should be approached as an assemblage, which makes heterogenous points of order - geographic, ethnic, linguistic, moral, economic, technological particularities - resonate together. As such, the state is an effect rather than the origin of power, and one should focus on reconstructing the socio-material basis of its functioning. The concept of assemblage questions the naturalization of hegemonic assemblages and renders them open to political challenge by exposing their contingency.”
― Slavoj Žižek, Sex and the Failed Absolute

“Based on the parts of this... this scene that are not covered in refuse, and the drawings you have done for me, I know you are an artist with talent. Maybe I have old-fashioned views, but I simply don't understand why you would spend your time creating something like this." He shrugged his shoulders. "The sort of art I am used to seeing is more..."
I raised an eyebrow. "More what?"
He bit his lip, as though searching for the right words. "Pleasant to look at, I suppose." He shrugged again. "Scenes from nature. Little girls wearing filly white dresses and playing beside riverbanks. Bowls of fruit."
"This piece shows a beach and a lake," I pointed out. "It's a scene from nature."
"But it's covered in refuse."
I nodded. "My art combines objects I find with images I paint. Sometimes what I find and incorporate is literal trash. But I also feel that my art is more than just trash. It's meaningful. These pieces aren't just flat, lifeless images on canvas. They say something."
"Oh." He came even closer to the landscapes, kneeling so he could peer at them up close. "And what does your art... say?"
His nose was just a few inches from an old McDonald's Quarter Pounder wrapper I'd laminated to the canvas so it looked like it was rising out of Lake Michigan. I'd meant for it to represent capitalism's crushing stranglehold on the natural world. Also, it just sort of looked cool.
But I decided to give him a broader explanation.
"I want to create something memorable with my art. Something lasting. I want to give people who see my works an experience that won't fade away. Something that will stay with them long after they see it."
He frowned skeptically. "And you accomplish that by displaying ephemera others throw away?"
I was about to counter by telling him that even the prettiest painting in the fanciest museum faded from memory once the patrons went home. That by using things other people throw away, I took the ephemeral and make it permanent in a way no pretty watercolor ever could.”
― Jenna Levine, My Roommate Is a Vampire