Bisexuality and family: narratives of silence, solace, and strength

This article examines the constellation of factors that come to bear in the family domain for bisexually desiring, behaving, or identifying individuals. Specifically, it interrogates the prevailing conditions that hinder or encourage disclosure of bisexuality and the consequences of such action. It argues that the family is uniquely situated at the interface of private and public domains of sociality, and, thus, negotiation of sexuality is herein constructed through the articulation of the "the family closet." Analysis draws on doctoral research that investigated the sociological nexus of sex, gender, and bisexuality in an Australian sample. Data collected via 47 in-depth interviews comprised a sex-/gender-diverse cohort including men and women, as well as transgender, cross-dressing, genderqueer, and intersex individuals. From this diversity of narratives the family environ emerged as a primary locus of personal and social challenge. Case studies taken from the data demonstrate how disclosure of bisexuality to family of origin was a selective process predicated by a range of sociocultural considerations such as religion, geographical location, and dominant discourses of gender and sexuality. These narratives foreground a spectrum of family responses spanning total estrangement, silence and/or denial, tentative acknowledgement, or complete acceptance and support. Whether encountered as sites of negative resistance or positive acceptance, respondents' stories illuminate the capacity to forge strategies of coping, resilience, and empowerment. A theoretical framework informed by the nomadic philosophy of Gilles Deleuze and Felix Guattari is deployed in order to explain these findings.

Pathology or intervention? – Deleuze’s masochism and its relation to parody

In his 1967 work, Presentation of Sacher-Masoch – Coldness and Cruelty (2007), Gilles Deleuze famously distinguishes the symptomatologies commonly designated by the names Masochism and Sadism, arguing that despite their shared feature of algolagnia, they are more rigorously approached as two very distinct regimes, having nothing to do with the ‘economy’ of the other. In the work’s preface, Deleuze also notes about Sacher-Masoch himself: ‘His whole oeuvre remains influenced by the problem of minorities, of nationalities and of revolutionary movements’ (2007: 9). Deleuze identifies that, within Masoch’s oeuvre, the masochist is he (normally a ‘he’) who insists on the contract. This insistence is neither to honour any particular contract or contracting per se, nor to safeguard himself within it, but to perform, through parodying it to its letter and pushing its operation towards its own limit, the inherent injustice that is its inexorable outcome. This article seeks to explore, using Masochistic ‘humouring’ or mockery of the contract as example, what might constitute a practice of intervention in regimes of power, and in which instances these iterations serve instead only as gestures of complicity with the injustices of the established logics. The article seeks to clarify, at the level of mechanism, a region of parody’s slippery operation, one which would determine the criteria for it to be intervention, as opposed to functioning as compliance and ‘bare repetition’ or ‘repetition of the Same’ (see Deleuze 2004: 27).

Materiality, language and the prduction of knowledge art, subjectivity and Indigenous ontology

If ontology concerns theories of being, and epistemology theories of knowing, how might we bring the two together to account for movements between being and knowing that constitute cultural production? something occurs or lies behind language and meaning that must be acknowledged if we are to arrive at an explanation. In this essay, I examine some key ideas that emerge from the work of Julia Kristeva, as well as those of Gilles Deleuze and Félix Guattari on sensation and affect, to demonstrate how ontology and epistemology are inextricably entwined in knowledge production.1 Kristeva’s perspective of creative practice not only aligns with the new materialist acknowledgement of the agency of matter, but, in contrast to Deleuze and Guattari, it also affirms the dimension of human or subjective agency that is implicated in cultural production.

Soluble fish : picture words in a limitless sea — surrealist poetics and a history of the unconscious

This article discusses the Surrealist text 'Soluble Fish' by Andre Breton against prevailing and dominant paradigms of language and the unconscious. Drawing on the theories of Freud, Jacques Lacan, Gilles Deleuze and Felix Guattari, it considers desire as ‘lack’ versus desire as a productive force entirely necessary for life and ‘becoming’. In addition, using an extract of my own creative practice, I propose the taxonomy of ‘new Surrealism’—a contemporary interpretation of the Surrealist’s productive force, also known as the ‘Marvellous.’