Photography, the dangling modifier, and ESL

 “As a Deleuzian nomadic feminist, my photographic work explores a dynamic disequilibrium. My photographs play with inter-relating imbrications—concurrent, multiple, contradictory tendencies. My pedagogical and art-based research explores the possibilities of radical citizenship by actively cultivating vulnerability through corporeal inquiries. Irreducibly allusive corpo-visual language unfolds as embodied rhizomatic vulnerabilities. My project is intricately rooted in the potential of a rhizomatic uncanny—‘reducible neither to the One nor the multiple’ (Mille Plateaux 22). I ground my theoretical investigations within narratives of personal experience [1]—sexual becomings and analog photography. As a strategy to elucidate my theoretical queries, I refer both to my philosophical underpinnings and the international public reception of my photographs—which frequently has led to censorship. In doing so, I practice an embodied theory that advocates a politics, philosophy, and pedagogical commitment rooted in everyday behavior and interaction. A commitment to this heterogeneous embodied thinking has the potential to rupture cultural assumptions. It explores the cross-fertilization of Deleuze’s enfoldments as disarticulated membranes. This awareness awakens the possibility of fully inhabiting our bodies—bodies that pulse with the multiplicity of the ‘I’—as inherently interdisciplinary. Revitalization of both individual and social bodies produces enfoldments of psyche-somatic consciousness. No hierarchies survive these monstrous, heterogeneous, multiple entwinings of body intelligence and wisdom. The body becomes a condition for participatory democracy—a lived erotic politics.”

Cara Judea Alhadeff, “Practicing the Abject: Deleuze and the Analog Uncanny.” Rhizomes 23 (2012).