Félix Guattari: The Anti-Œdipus Papers (2006)
Filed under book | Tags: · body without organs, capitalism, desiring machines, deterritorialization, philosophy, production, psychoanalysis, schizoanalysis, schizophrenia, semiotics
“‘The unconscious is not a theatre, but a factory,’ wrote Gilles Deleuze and Félix Guattari in Anti-Oedipus (1972), instigating one of the most daring intellectual adventures of the last half-century. Together, the well-known philosopher and the activist-psychiatrist were updating both psychoanalysis and Marxism in light of a more radical and ‘constructivist’ vision of capitalism: ‘Capitalism is the exterior limit of all societies because it has no exterior limit itself. It works well as long as it keeps breaking down.’
Few people at the time believed, as they wrote in the often-quoted opening sentence of Rhizome, that ‘the two of us wrote Anti-Oedipus together.’ They added, ‘Since each of us was several, that became quite a crowd.’ These notes, addressed to Deleuze by Guattari in preparation for Anti-Oedipus, and annotated by Deleuze, substantiate their claim, finally bringing out the factory behind the theatre. They reveal Guattari as an inventive, highly analytical, mathematically-minded ‘conceptor,’ arguably one of the most prolific and enigmatic figures in philosophy and sociopolitical theory today. The Anti-Oedipus Papers (1969-1973) are supplemented by substantial journal entries in which Guattari describes his turbulent relationship with his analyst and teacher Jacques Lacan, his apprehensions about the publication of Anti-Oedipus and accounts of his personal and professional life as a private analyst and codirector with Jean Oury of the experimental clinic Laborde (created in the 1950s).”
Edited by Stéphane Nadaud
Translated by Kélina Gotman
Publisher Semiotext(e), 2006
Foreign Agents series
ISBN 1584350318, 9781584350316
437 pages
PDF (updated on 2017-6-26)
Comment (0)Rethinking Marxism 22-3: Special Issue on the Common and the Forms of the Commune (2010)
Filed under journal | Tags: · capitalism, commons, communism, community, neoliberalism, production
“Operating within and beyond each of the offerings contained in the pages [of this special issue] is a profound play on precisely the question posed: What is the operative notion of the common today? Even the singularity of that question’s basic assumption is challenged by the scope of these inquiries for, indeed, a paradox begins to emerge when we consider them as a collection, one might even say as a common production of knowledge: recognition that the very foundation of a concept of the common—its particularity—may well be articulated in a multiplicity of ways. That is to say, can postmodernity—or whatever we wish to designate our present condition—tolerate a single “operative notion” of the common, or does it rather demand a constellation of understandings that contribute simultaneously to our experience of the common and to its neoliberal other, the promotion of individuation?” (from Introduction)
Contributions by Anna Curcio & Ceren Özselçuk, Jack Amariglio, Michael Hardt, Gigi Roggero, Aras Özgün, 16beaver group, Antonio Callari & David F. Ruccio, Deborah Jenson, Federico Luisetti, S. Charusheela, Kenneth Surin, Kathi Weeks, Anna Curcio, Yahya M. Madra & Ceren Özselçuk, Alvaro Reyes.
With Introduction by Joseph Childers
Rethinking Marxism: A Journal of Economics, Culture & Society Volume 22 Issue 3
ISSN: 0893-5696
PDF (updated on 2012-7-27)
Comment (0)Julian Stallabrass: Contemporary Art: A Very Short Introduction (2006)
Filed under book | Tags: · art, art criticism, art system, contemporary art, neoliberalism, politics, postmodern, production
“Bloody toy soldiers, gilded shopping carts, and embroidered tents. Contemporary art is supposed to be a realm of freedom where artists shock, break taboos, flout generally received ideas, and switch between confronting viewers with works of great emotional profundity and jaw-dropping triviality. But away from shock tactics in the gallery, there are many unanswered questions. Who is really running the art world? What effect has America’s growing political and cultural dominance had on art?
Julian Stallabrass takes us inside the international art world to answer these questions, and to argue that behind contemporary art’s variety and apparent unpredictability lies a grim uniformity. Its mysteries are all too easily explained, its depths much shallower than they seem. Contemporary art seeks to bamboozle its viewers while being the willing slave of business and government.”
Publisher Oxford University Press, 2006
Volume 146 of Very short introductions
ISBN 0192806467, 9780192806468
154 pages
PDF (updated on 2015-5-7)
Comment (0)