RhizomANTically Becoming-Cyborg: Performing posthuman pedagogies
- ISSN: 00131857
- DOI: 10.1111/j.1469-5812.2004.00066.x
Examines a narrative experiment inspired by Gilles Deleuze and Felix Guattari's figuration of the rhizome. Textual assemblage of popular and academic representations of cyborg that provoke and challenge discourses and assumptions of curriculum, teaching and learning; Methodological disposition that connects Deleuze's rhizomatics, actor-network theory, and Donna Haraway's category of semantics.
RhizomANTically Becoming-Cyborg: ...
RhizomANTically Oxford, UKPublishing, E PAT Educational Philosophy and Theory 0013-1857 2004 Philosophy of Education Society of Australasia 36 3 Original Article RhizomANTically Becoming-Cyborg: Performing posthuman pedagogies Noel Gough Becoming-Cyborg: Performing posthuman pedagogies N ��������� G ������������ Deakin University Make a rhizome. But you don���t know what you can make a rhizome with, you don���t know which subterranean stem is going to make a rhizome, or enter a becoming, people your desert. So experiment. ���Gilles Deleuze & F��lix Guattari, A Thousand Plateaus (1987), p. 246 So I shall. This paper is a narrative experiment inspired by Deleuze and Guattari���s (1987) figuration of the rhizome. It is a textual assemblage of popular and academic 1 representations of cyborgs that I hope might question, provoke and challenge some of the dominant discourses and assumptions of curriculum, teaching and learning. Emboldened by Deleuze���s penchant for inventing new terms for his figurations, 2 I have coined the term ���rhizomANTic��� (sometimes ���rhizomantic���) to name a methodol- ogical disposition that connects Deleuze���s rhizomatics, ANT (actor-network theory), and Donna Haraway���s (1997) ���invented category of semANTics, diffractions ��� (p. 16, my caps.). 3 Diffraction is ���an optical metaphor for the effort to make a difference in the world��� (p. 16), which Haraway (1994) also represents by the activity of making a ���cat���s cradle������a metaphor that imagines the performance of sociotechnical relations as a less orderly and less functionalist activity than the word ���network��� often conveys. As my reference to Haraway���s work suggests, my engagement with ANT leans towards those aspects of the theory that John Law (1999) characterises as ���after-ANT���. In an annotated bibliography on Law���s ANT Resource Home Page, he refers to Haraway���s (1997) Modest_Witness@Second_Millennium.FemaleMan��_Meets_OncoMouse��� as ���the best-known example of the different and partially related radical feminist technoscience alternative to actor-network theory. The ���after-ANT��� studies in this resource in many cases owe as much or more to Haraway as to ANT itself���. 4 I also use the term rhizomantic because much of this essay is about ants. Writing Cyborgs Writing rhizomantic as ���rhizomANTic��� symbolically foregrounds my suspicion that ANT cannot wholly be accommodated by rhizomatics���it fits, but it sits a little awkwardly and uncomfortably. The extent of this fit (which improves as ANT segues into ���after ANT���) can be demonstrated by comparing Haraway���s and actor- network theorists��� approaches to writing cyborgs with each other and with Deleuze and Guattari���s (1987) approach to writing A Thousand Plateaus :