Gilles Deleuze, Félix Guattari: A Thousand Plateaus: Capitalism and Schizophrenia (1980–) [FR, IT, EN, ES, BR-PT, RU, CR]

“A Thousand Plateaus continues the work Gilles Deleuze and Félix Guattari began in Anti-Oedipus and has now become established as one of the classic studies of the development of critical theory in the late twentieth century. It occupies an important place at the center of the debate reassessing the works of Freud and Marx, advancing an approach that is neither Freudian nor Marxist but which learns from both to find an entirely new and radical path. It presents an attempt to pioneer a variety of social and psychological analyses free of the philosophical encumbrances criticized by postmodern writers. A Thousand Plateaus is an essential text for feminists, literary theorists, social scientists, philosophers, and others interested in the problems of contemporary Western culture.”

Publisher Les Editions de Minuit, Paris, 1980
Volume 2 of Capitalisme et Schizophrénie
ISBN 2707303070
645 pages

English edition
Translation and Foreword by Brian Massumi
Publisher University of Minnesota Press, 1987
ISBN 0816614024, 9780816614028
xix+610 pages

Key words and phrases: deterritorialization, abstract machine, rhizome, body without organs, semiotic, haecceities, war machine, stratum, black hole, nomad, fascism, destratification, psychoanalysis, line of flight, Gilles Deleuze, molar, haptic, schizoanalysis, surplus value, Paul Virilio

Review: Sander L. Gilman (Journal of Interdisciplinary History 1989).

Wikipedia
Publisher

Mille plateaux (French, 1980, 7 MB, added on 2015-3-24, updated on 2016-8-3)
A Thousand Plateaus (English, trans. Brian Massumi, 1987, 6 MB, updated on 2019-8-19)
Mille piani: capitalismo e schizofrenia (Italian, trans. Giorgio Passerone, 1987/2003, 10 MB, added on 2016-8-3)
Mil mesetas: capitalismo y esquizofrenia (Spanish, trans. José Vázquez Pérez with Umbelina Larraceleta, 1988, 23 MB, added on 2016-8-3)
Mil platôs: capitalismo e esquizofrenia, 1, 2, 3, 4, 5 (BR-Portuguese, trans. Ana Lúcia de Oliveira, et al., 1995-97, added on 2016-8-3)
Kapitalizm i shizofreniya: tysyacha plato (Russian, trans. Ya.I. Svirsky, 2010, DJV, 11 MB, added on 2016-8-3)
Kapitalizam i shizofrenija 2. Tisuću platoa (Croatian, trans. Marko Gregorić, 2013, 19 MB, added on 2021-3-24)

Gilles Deleuze, Félix Guattari: Anti-Oedipus: Capitalism and Schizophrenia (1972–) [FR, ES, DE, IT, GR, EN, RU, PT]

“When it first appeared in France, Anti-Oedipus was hailed as a masterpiece by some and “a work of heretical madness” by others. In it, Gilles Deleuze and Félix Guattari set forth the following theory: Western society’s innate herd instinct has allowed the government, the media, and even the principles of economics to take advantage of each person’s unwillingness to be cut off from the group. What’s more, those who suffer from mental disorders may not be insane, but could be individuals in the purest sense, because they are by nature isolated from society. More than twenty-five years after its original publication, Anti-Oedipus still stands as a controversial contribution to a much-needed dialogue on the nature of free thinking.”

Publisher Les Editions de Minuit, 1972

English edition
Translated by Robert Hurley, Mark Seem, and Helen R. Lane
Preface by Michel Foucault
Publisher University of Minnesota Press, 1983
400 pages

Key terms: schizoanalysis, desiring-production, deterritorialization, Anti-Oedipus, psychoanalysis, Oedipus complex, anti-production, surplus-value, nuclear family, Deleuze and Guattari, Lacan, Marxism, incest, exclusive disjunction, death instinct, Nietzsche, Spinoza, permanent revolution, paralogism, capitalist

Wikipedia (EN)
Publisher (EN)

L’Anti-Oedipe: Capitalisme et schizophrénie (French, added on 2012-10-18)
El Anti Edipo: Capitalismo y esquizofrenia (Spanish, trans. Francisco Monge, 1973/1985, added on 2013-1-1)
Anti-Ödipus: Kapitalismus und Schizophrenie I (German, trans. Bernd Schwips, 1974/1977, no OCR, added on 2013-1-2)
L’anti-Edipo: Capitalismo e schizofrenia (Italian, trans. Alessandro Fontana, 1975, added on 2013-1-1)
Kapitalismós kai schizofréneia: o anti-Oidípous (Greek, trans. Καίτη Χατζηδήμου and Ιουλιέττα Ράλλη, 1981, 24 MB, added on 2016-8-3)
Anti-Oedipus: Capitalism and Schizophrenia (English, trans. Robert Hurley, Mark Seem, and Helen R. Lane, 1983, updated on 2012-10-18)
Анти-Эдип: Капитализм и шизофрения (Russian, trans. Д.Кралечкина, 2008, DJVU, no OCR, added on 2013-1-2)
O anti-Édipo: capitalismo e esquizofrenia (Portuguese, trans. Luiz B. L. Orlandi, 2010, added on 2013-1-1)

See also their A Thousand Plateaus.

Grant D. Taylor: The Machine That Made Science Art: The Troubled History of Computer Art 1963-1989 (2004)

“This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy.” (Abstract)

Ph.D. Thesis
Landscape and Visual Arts, The Faculty of Architecture, The University of Western Australia, 2004
via MediaArtHistories

PDFs (updated on 2016-2-17)