Such genealogies of dis/orienting practice draw together delivery and memory in a larger ecological setting and might (in this case) reference any number of avant-garde movements. In On Multimodality: New Media in Composition Studies, for instance, we wrote about the importance of the Situationist International’s experimentations with détournement and the dérive as disruptive forms of multimedia practice. What draws us queerly to such work is its often embodied delivery (and memory), its working through the body—wandering, following instincts, tracing desires, reacting in the flesh, coupling strangely and unexpectedly and even grotesquely—as well as its questioning of normative modes of production (wander!) and its orientation to potentialities as opposed to (heteronormative) reproduction. Indeed, much post-World War II avant-garde work seems to have taken a cue from Marxist theorist Henri Lefebvre, who, in the first volume of The Critique of Everyday Life, advocates for a kind of action and engagement that “has as its aim a new type of human being.” Lefebvre explains:

 

Neither anguished like the self-centered intellectual, nor self-satisfied like the bourgeois, he can avoid this old dilemma (anguish or thoughtless self-satisfaction) because what he loves about the real today and about life at the present moment are the possibilities they offer, and not simply the fait accompli which can be easily grasped and which can only disappoint.

(206)