The exposition of Tero Nauha’s practice is of both artistic and intellectual interest. In general it develops the idea of art practice as schizoanalytic with admirable persistency, bringing in other theorists such as Malabou alongside Guattari, and developing some very interesting concepts – such as the plasticity of the sponge – that are then tested in the practice. Indeed, the submission is almost a paradigmatic example of practice as a research programme. The author demonstrates a very good grasp of some difficult conceptual material, not least Guattari’s diagrammatics, and is able to bring these into productive encounter with a practice that is itself rigorous and highly experimental.
The exposition of Tero Nauha’s practice is of both artistic and intellectual interest. In general it develops the idea of art practice as schizoanalytic with admirable persistency, bringing in other theorists such as Malabou alongside Guattari, and developing some very interesting concepts – such as the plasticity of the sponge – that are then tested in the practice. Indeed, the submission is almost a paradigmatic example of practice as a research programme. The author demonstrates a very good grasp of some difficult conceptual material, not least Guattari’s diagrammatics, and is able to bring these into productive encounter with a practice that is itself rigorous and highly experimental.