The present essay questions at the same time it acknowledges the historical and logical conditions of existence of painting as an expanded field. The expanded field of painting is presented using a Greimas rectangle that incorporates the notions of uniqueness/reproducibility, multidimensional affine spaces, and history. The essay provides an understanding of the discipline and of the art-works that make it possible to locate different artistic manifestations taking place today in society.

This article surveys the discursive turns of a conventional historical trope: the change in the valence of alcohol (and drugs) from happy to miserable. This change is commonly told as the story of a golden age of drinking and a fall into addiction (although there is a confused relationship in many of the stories between a condition called medical alcoholism and the social behavior of drunkenness). This fall is variously dated from the fifteenth to the late nineteenth centuries (both the conceptualization and the fact of alcoholism). Is this real historical change or only nominal change? Was alcoholism unknown in previous ages or has it always been around? Certain material factors (supply, absence of alternative drinks) may have impeded the visibility of alcoholism. The theory of nominal change is involved with factors like conspiratorial behavior, the conditions of scientific knowledge (i.e., the structure of investigation itself ), the baffles of categorization (heavy drinking was hidden within gluttony for most of history). Real change involves various facets of modernity and industrial capitalism: individualism and privacy, temperance, respectability, and rigid class formation, etcetera. But this shift is also a movement across class lines, from middle to lower-class drinkers.

Substantial evidence supports the perspective that the people of Ancient Greece had a language for and some use for drugs, both for the purpose of medicine and poison; however, the question remains whether Ancient Greek civilization held a concept approximating what we today call drug addiction. This article explores the textual evidence for the use of two drugs, nepenthes and cannabis, in Ancient Greece. While the existence of nepenthes remains in doubt, the use of cannabis is well documented. Either drug or both drugs may have been used in the rites of the Bacchic and Orphic mysteries, which might explain why there are so few references to these drugs in the Ancient Greek literature.

This article explores attempts by Jack Kerouac and Allen Ginsberg to transcribe their drug experiences onto the written page. Utilizing both Maurice Merleau-Ponty’s work on intersubjective communication and Gilles Deleuze and Felix Guattari’s conception of the “Body Without Organs,” it argues that by writing “through the body,” Kerouac and Ginsberg are able to transmit the physical and emotional effects of the drug experience to the reader via the medium of the text. The reader thus receives not just an objective account of the drug experience, but becomes privy to the alterations in temporal perception and intersubjective empathy that drug use inaugurates.

The body conceived of as a machinic assemblage becomes a body that is multiple. Its function or meaning no longer depends on an interior truth or identity, but on the particular assemblages it forms with other bodies. In this paper I draw on the work of Deleuze and Guattari to explore what happens to the drug using body when it is rethought as a machinic assemblage. Following an exploration of how the body of the drug user is put together and stratified as a subject, and a careful manoeuvre through the bleak conception of the ‘drugged body’ provided by Deleuze and Guattari, I begin to map out some ethical alternatives. I argue that a body should, ultimately, be valued for what it can do (rather than what is essentially ‘is’), and that assemblages should be assessed in relation to their enabling, or blocking, of a body’s potential to become other.