I contain multitudes

Abstract

Abstract The rhizome is like the poem. The growth power of nature and the possibilities of culture simultaneously and reciprocally. It stretches from biological cell and level of particles to our universal dreams and thoughts about and with life. The rhizome as poem is thus a picture and image of the importance of context and movement, production of constant importance for each/other. The picture breaks all patterns always and always creates new, as points and lines affectively collapsing into each/other for each/other. The rhizome as poem — and the consciousness about the preliminarity of processes across preliminary boundaries, opens up for translations and interpretations beyond known vocabularies and in unfinished channels. It possibilizes the realization of more - than - human concepts such as the dissolution of subjectivity turning my identity into a collective: I contain multitudes and sing myself.1 Knowledge creation and meaning making are thus connected with what situated knowledges makes possible and mobilize, and is about community, not isolated individuals; it is about productive connections and unexpected openings in which every concept is ‘trapped’ in experience. Informatically we are data subjects of an algorithmic nature. I oxymoronically and indirectly therefore ask how we can become materially identifiable subjects and what would it take to move from a mechanistic approach to education to a more machinic one? Further, are the abstractions one attempts to move from imitation to imagination abstract enough? I poem with the speculative process philosophy of Gilles Deleuze (1925–1995) and Félix Guattari (1930–1992) to think the future, theory and practice in Environmental Education other. Taking part in polysemantic ambiguity becomes attractive as condition to side with the child and it might turn into a strong source of energy for learning and change, trans-scientific collaboration and sustainability. The rhizome is my cosmic writing machine, research design and model.

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