This article explores how Chinese Daoist thought can address the need of an ethics that can cope with “the Anthropocene.” It explores the similarities between Daoist thought and posthumanist theories which arose partially as a response to the challenges of the Anthropocene. And it examines how Daoist thought can radicalize posthumanist thinking by means of an ethics based on a genuinely flat ontology that treats all things, human and nonhuman, as equal.

In this paper, we employ Deleuzian philosophy to explore the complex challenges confronting teachers and education systems posed by the climate emergency and the implications of the resulting posthumanist turn. Self-identified climate-activist teachers working in schools in Aotearoa New Zealand were asked to draw Deleuzian assemblages of their educational realities and of themselves while contemplating the climate emergency. Their thought-provoking drawings were used as semiotic artefacts during unstructured Zoom interviews, leading to rich conversations. Through this process, the drawings channel affect within the research assemblage, entangling the reader actively into the research process. Insights gained from the participants problematise the perspectives of teachers in response to the climate emergency and lead us to conceptualise the potential of teachers as Deleuze’s nomadic change makers toward posthuman futures.

This article describes a posthuman study that used Deleuze’s rhizoanalysis to explore the journeys of adult learners who returned to an adult high school to pursue their high school diplomas after having prematurely left high school. Five graduated adult students participated in individual recorded intra-views, and two of them also participated in a small group discussion with the researcher to speak of their journeys. The (non)data were cartographically created to map the intra-active complexities that (de)(re)territorialize re-entry adult learners. As the assemblages were mapped, participants were decentred and material world experiences were extended. Common notions around dropout students were disrupted, and re-entry processes for adult learners were (re)thought as new problems and questions emerged.

There is no consensus regarding whether Gilles Deleuze offers a cogent theory of the Other. Deleuze develops the notion of the Other-structure, but given his scarce remarks on this concept, his treatment of this issue is debated. This article argues that to elucidate Deleuze's philosophy of the Other, his notion of the Other-structure must be analyzed in parallel to Edmund Husserl's intersubjective theory. This comparison, made possible by Natalie Depraz's reading of the Husserlian alterity, reveals nuanced phenomenological traces in Deleuze's Other-structure and its implicated structural moments while substantiating his affirmation of the Otherless world, as an impetus to surpass phenomenology.

The philosophy of Gilles Deleuze has become popular in recent moves to embed approaches such as the new materialist and the posthuman in environmental education. Certainly, a newfound respect for the material universe, including the comprehension of the human place in it, and the tendency to a posthuman theoretical position, are both important given the contemporary environmental crisis, named as the Anthropocene. However, this article will argue that both these philosophies do not go far enough. This is because they must retain a political, social and critical edge if they are to be effective, and this edge can be too easily disregarded in the pursuit of increased engagement with the material and everything not human. In contrast, this article will put forward a Deleuzian approach to environmental education, based on the intellectual quadrant of Spinoza-Marx-Nietzsche-Bergson (Figure 1). It will be argued that only by fully connecting these often conflicting and disparate philosophies that a workable new synthesis for environmental education and a cartography for learning can be achieved. The Deleuzian approach to environmental education will be exemplified through an analysis of current environmental practises in schools as assemblage.

Using theorists such as Deleuze, Guattari and Heidegger, this essay is a critique of Ngugi wa Thiong'o's much publicized decision to write in Gikuyu rather than English, the language Ngugi condemns as the instrument of colonialism and its successor, neo-imperialism. In line with Deleuze and Guattari's argument that Kafka's work is best apprehended as the determination to make German bear the full weight of his “minor” (as a Czech Jew) experience, this essay elucidates the ways in which Ngugi's ostensibly political turn is unable to write what it means to live, in Deleuze and Guattari's phrase, “in another's language”. To live, that is, the experience of “dislocation” (a rubric which would include colonialism and the failures of African sovereignty, not least among them) from one's own language (however provisional and contingent such a claim on language always is) as the first – necessary – condition of making literature. Of making language bear the weight of the very experience it is intent on denying articulation.

In this article Stephen Wilmer applies Deleuze and Guattari's concept of nomadology to the Fluxus art movement that spread across the world, breaking down barriers between art and life, privileging concrete and conceptual art, and staging unusual events. He traces Rosi Braidotti's development of Deleuze and Guattari's concept into her notion of the nomadic subject in which she favours factors such as geographic movement, transnational identities, common space (in accord with the Deleuzian differentiation between the divisible earth or private property, and nomadic space which belongs to everyone), polylingualism, desubjectivation, becoming minoritarian, and thinking and acting differently. With this as a philosophical and political context, the author investigates some of the artistic practices of specific Fluxus practitioners, especially the shamanistic performances and fat and felt installations of Joseph Beuys that supposedly owed their inspiration to his experience with nomadic Tatars. Stephen Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He co-edited (with Audronė Žukauskaitė) Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016) and Deleuze and Beckett (Palgrave Macmillan, 2015). He edited ‘Theatre and the Nomadic Subject’ for Nordic Theatre Studies (2015), and co-edited (with Azadeh Sharifi) ‘Theatre and Statelessness in Europe’ for Critical Stages (2016).

Circus training can benefit children diagnosed on the autistic spectrum and their families. In 2010, as Head Trainer at Flipside Circus in Brisbane, Kristy Seymour developed a method for using circus as a therapeutic tool for children with autism. In this article, she and Patricia Wise work between experiential and theoretical positions to explore how circus can open up a new world to such children, enabling them to take risks physically and emotionally, and to stretch the capacities of their bodies in an environment that enriches their social development. Seymour and Wise deploy the idea of ‘chaosmos’ from Deleuze and Guattari, Pope, and others to argue that, counter-intuitively, children with autism benefit from the environment of creative chaos that attends circus. Through Agamben's work on being and singularity they discuss how circus values difference and inclusivity, building community in ways also captured by Probyn's notion of ‘outside belonging’. Kristy Seymour has worked for over sixteen years in contemporary circus as an aerialist, trainer, artistic director, creative producer, and choreographer. She has a significant profile in the youth circus sector, and is completing doctoral research on Australian contemporary circus in Griffith University's School of Humanities, Languages and Social Science. An Associate Professor in the same School, Patricia Wise is a cultural theorist whose publications range over cultural policy and urban studies, inflected by interests in spatiality, materiality and gender. This article reflects a parallel concern with cultural practices in communities of difference, as does a recent co-publication on the value of participatory music for the welbeing of detained asylum seekers.

In this article, I explore the way that the creation and presentation of Lloyd Newsom's Dead Dreams of Monochrome Men (1988) for DV8 confronted the choreographer, performers, and audience with questions about the ethics of sex and romance and the treatment of gay men during the AIDS crisis. To analyze the complex affective relationships within and around the piece, I follow Emmanuel Levinas's ethical theory of the face in conjunction with Gilles Deleuze and Felix Guattari's related theory of faciality, which I interpret as referring to a disciplinary situation in which subjects are created through a process of terrorizing and shaming.