deleuze in Adema 2009
oted
to research into truth and meaning.’
Society of Control has a [library
section](http://www.societyofcontrol.com/library/) which contains works from
some of the biggest thinkers of the twentieth century: Baudrillard, Adorno,
Debord, Bourdieu, Deleuze, Habermas, Sloterdijk und so weiter, and so much
more, a lot in German, and all ‘typed out’ texts. The library section offers a
direct search function, a category function and a a-z browse function.
Dillemuth states that he offers this material u
rom web (e-mule, avax, libreremo, socialist
bros, cross-x, gigapedia..) What I did was thematizing._’ The same goes for
[pdflibrary](http://pdflibrary.wordpress.com/) (which seems to be from the
same author), offering texts from Derrida, Benjamin, Deleuze and the likes:
_‘_ _None of the PDFs you find here are productions of this blog. They are
collected from different places in the web (e-mule, avax, libreremo, all
socialist bros, cross-x, …). The only work done here is thematizing and
tagging.’
deleuze in Constant 2009
o an alternative understanding
of media and technology, where such general categories as ‘humans'
and ‘machines' are merely the endpoints of intensive flows, capacities, tendencies and functions. Such a stance takes much of its force
from Gilles Deleuze's philosophical ontology of abstract materialism,
which focuses primarily on a Spinozian ontology of intensities, capacities and functions. In this sense, the human being is not a distinct
being in the world with secondary qualities, but a “capacit
Colebrook has pointed
out in her article ‘The Sense of Space' (Postmodern Culture). This
opens up a new agenda not focused on ‘beings' and their tools, but
on capacities and tendencies that construct and create beings in a
move which emphasizes Deleuze's interest in pre-Kantian worlds of
baroque. In addition, this move includes a multiplication of subjectivities and objects of the world, a certain autonomy of the material
world beyond the privileged observer. Like everybody who has done
gardening knows: there is a world teeming with life outside the human
sphere, with every bush and tree being a whole society in itself.
To put it shortly, still following Colebrook's recent writing on the
concept of affect, what Deleuze found in the baroque worlds of windowless monads was a capacity of perception that does not stem from
a universalising idea of perception in general. Man or any general
condition of perception is not the primary privileged position of perception but perceptions and creations of space and temporality are
multiplied in the numerous monadic worlds, a distributed perception
of a kind that according to Deleuze later found resonance in the philosophy of A.N.Whitehead. For Whitehead, the perceiving subject is
more akin to a ‘superject', a second order construction from the sum
of its perceptions. It is the world perceived that makes up superjects
and based on the variations of perceptions also alternative worlds.
Baroque worlds, argues Deleuze in his book Le Pli from 1988, are
characterised by the primacy of variation and perspectivism which is
a much more radical notion than a relativist idea of different subjects
having different perspectives on the world. Instead, “the subject will
be
ach
the world as media in itself: a contracting of forces and analysing
them in terms of their affects, movements, speeds and slownesses.
These affects are primary defining capacities of an entity, instead of
a substance or a class it belongs to, as Deleuze explains in his short
book Spinoza: Practical Philosophy. From this perspective we can
adopt a novel media archaeological rewiring that looks at media history not as one of inventors, geniuses and solid technologies, but as a
field of affects, intera
Carroll, Alice's Adventures in Wonderland and Through the
Looking Glass. Edited with an Introduction and Notes by Roger
Lancelyn Green. (Oxford: Oxford University Press, 1998).
Claire Colebrook, ‘The Sense of Space. On the Specificity of Affect
in Deleuze and Guattari.' In: Postmodern Culture, vol. 15, issue 1,
2004.
Steven Connor, fly. (London: Reaktion Books, 2006).
Manuel DeLanda, War in the Age of Intelligent Machines. (New
York: Zone Books, 1991).
Gilles Deleuze, Spinoza: Practical Philosophy. Transl. Robert
Hurley. (San Francisco: City Lights, 1988).
Gilles Deleuze, The Fold. Transl. Tom Conley. (Minneapolis:
University of Minnesota Press, 1993).
Ernst Kapp, Grundlinien einer Philosophie der Technik: Zur Entstehungsgeschichte der Kultur aus neuen Gesichtspunkten. (Braunschweig:
Druck und Verlag von George Weste
2006).
Jean-Jacques Lecercle, Philosophy of Nonsense: The Intuitions of
Victorian Nonsense Literature. (London: Routledge, 1994).
Jussi Parikka, ‘Insect Technics: Intensities of Animal Bodies.' In:
(Un)Easy Alliance - Thinking the Environment with Deleuze/Guattari, edited by Bernd Herzogenrath. (Newcastle: Cambridge Scholars
Press, Forthcoming 2008).
Siegfried Zielinski, ‘Modelling Media for Ignatius Loyola. A Case
Study on Athanius Kircher's World of Apparatus between the Imaginary and the Real.' I
of digital signal processing, a theory that could be used to talk about ways of contesting,
critiquing, or making alternatives. The theory under development
here relies a lot on two notions, ‘intensive movement' and ‘centre
of envelopment' that Deleuze proposed in Difference and Repetition.
figure 117
A promotional video
from Intel
for the UltraMobilePC
1
http://youtube.com/watch?v=GFS2TiK3AI
156
156
156
157
157
However, I want to keep the philosophy in the background as much as
possible.
mputing. It belongs to a more intensive, enveloped, and enveloping set of movements. To begin addressing this dynamic, we might say that wireless DSP is the armature
166
166
166
167
167
of a centre of envelopment. This is a concept that Gilles Deleuze
proposes late in Difference and Repetition. ‘Centres of envelopment'
are a way of understanding how extensive movements arise from intensive movement. Such centres crop up in ‘complex systems' when
differences come into relation:
to the extent th
deleuze in Dean, Dockray, Ludovico, Broekman, Thoburn & Vilensky 2013
ttari: A
Critical Introduction,
Cambridge, Pluto
Press, 2009;
Genosko, ‘Busted:
Félix Guattari
and the Grande
Encyclopédie des
Homosexualités’,
Rhizomes 11/12
(2005/6), http://
www.rhizomes.net/
issue11/genosko.
html ; François
Dosse, Gilles Deleuze
and Félix Guattari:
Intersecting Lives, D.
Glassman (trans),
New York, Columbia
University Press,
2010.
16. Christina
Kiaer, Imagine
No Possessions:
The Socialist
Objects of Russian
Constructivism,
London, The
MIT Press, 2005;
Nicholas Thoburn,
‘Communist Objects
and the Values of
Printed Matter’,
Social Text 28, 2
(2010): 1-30.
17. Gilles Deleuze
and Félix Guattari,
What Is Philosophy?
G. Burchell and H.
Tomlinson (trans),
London, Verso,
1994, pp167-8,
pp176-7.
libidinal relations among groups, be they psychiatric associations or political
collectives. Gary Genosko has published some fascinating work on this aspect
of Guattari’s praxis, and it comes across clearly in the Dosse biography of
Deleuze and Guattari.15 With this question of group pedagogy in mind, what is
the role of the newspaper in the self-organisation and self-education practice
of Chto Delat?
DV The interrelations between all forms of our activity is very important, Chto
Delat?
, as Rodchenko put it, where the revolution is the liberation of the
human and the object, what Arvatov called the ‘intensive expressiveness’ of
matter?16 Another way of thinking this theme of the newspaper as a political
object is through what Deleuze and Guattari call a ‘monument’, a compound
of matter and sensation that ‘stands up by itself ’, independent of its creator,
as a product of the event and a projection into the future:
the monument is not something commemorating a past, it is
deleuze in Dockray 2013
nt occupations and protests to make material reference to education and the metastasizing knowledge economy. No doubt the use of radical theory literalizes an attempt to bridge theory and practice, while evoking a utopian imaginary, or simply taking Deleuze’s words at face value: “There is no need to fear or hope, but only to look for new weapons.” Against a background of library closures and cutbacks, as well as the concomitant demands for the humanities and social sciences to justify themselves
deleuze in Marczewska, Adema, McDonald & Trettien 2018
research project has its own ‘wall’: a ‘dense,
imploded zone’ that is populated by the ideas, images, scenes, and sentences
that ‘stick’ to us, to use Lara Farina’s evocative phrase (2014, 33). They are the
‘encounters’ that Gilles Deleuze describes as the impetus toward work, the things
that ‘strike’ us, as Walter Benjamin puts it, like a hammer to unknown inner chords.
Although instrumental to every humanities project, this entangled web of texts and
ideas has a brutally short li
deleuze in Mars & Medak 2019
hybrid meta-space between psychoanalysis, media theory,
and conceptual art one could encounter by visiting the world of
catalogs and archives. Understanding capitalism and schizophrenia would have been hard without Semiotext(e)’s translations of
Deleuze and Guattari, and remaining on the utopian path would
have been impossible if not for our reading of Cybernetic Revolutionaries (Medina 2011), Imagine No Possessions (Kiaer 2005), or Art
Power (Groys 2008).
Our Road into Schizophrenia, Commodity
Par
talism has
resulted in a system demanding that the contemporary subject
act in accordance with two opposing tendencies: “more capitalist
than capitalist and more proletarian than proletariat” (Deleuze
and Guattari 1983, 34). Schizophrenia is, as Deleuze and Guattari
argue, a condition that simultaneously embodies two disjunctive
positions. Desire and blockage, flow and territory. Capitalism is
the constant decoding of social blockages and territorializations
aimed at liberating the production of des
deleuze in Stalder 2018
(Cambridge, MA: MIT Press,
2012). The term is practical because it is easy to understand, but it is
also conceptually contradictory. An individual (an indivisible entity)
cannot be defined in terms of a distributed network. With a nod toward
Gilles Deleuze, the cumbersome but theoretically more precise term
"dividual" (the divisible) has also been used. See Gerald Raunig,
"Dividuen des Facebook: Das neue Begehren nach Selbstzerteilung," in
Oliver Leistert and Theo Röhle (eds), *Generation Facebook: Ü
deleuze in Thylstrup 2019
device for grasping and formulating these changing relations of
power and control; in sociology: Haggerty and Ericson 2000; Rabinow 2003; Ong
and Collier 2005; Callon et al. 2016; in geography: Anderson and McFarlane
2011, 124–127; in philosophy: Deleuze and Guattari 1987; DeLanda 2006; in
cultural studies: Puar 2007; in political science: Sassen 2008. The
theoretical scope of these works ranged from close readings of and ontological
alignments with Deleuze and Guattari’s work (e.g., DeLanda), to more
straightforward descriptive employments of the term as outlined in the OED
(e.g., Sassen). What the various approaches held in common was the effort to
steer readers away from thinking in terms of essences and stability toward
thinking about more complex and unstable structures. Indeed, the “assemblage”
seems to have become a prescriptive as much as a diagnostic tool (Galloway
2013b; Weizman 2006). 60. Deleuze 1997; Foucault 2009; Hardt and Negri 2007.
61. DeLanda 2006; Paul Rabinow, “Collaborations, Concepts, Assemblages,” in
Rabinow and Foucault 2011, 113–126, at 123. 62. Latour 2005, __ 28. 63. Ibid.,
35. 64. Tim Stevens, _Cyber Security and the Politics of Time_ (Cambridge:
Cambridge University Press, 2015), 33. 65. Abrahamsen and Williams 2011. 66.
Walker 2003. 67. Deleuze and Guattari 1987, 116. 68. Parisi 2004, 37. 69.
Hacking 1995, 210. 70. Scott 2009. In James C. Scott’s formulation,
infrapolitics is a form of micropolitics, that is, the term refers to
political acts that evade the formal political apparatus.
ed
significantly since Castilhon. The labyrinthine infrastructural imaginaries we
find in digital environments thus differ significantly from more classical
images, not least under the influence of the rhizomatic metaphors of
labyrinths developed by Deleuze and Guattari and Eco. If the labyrinth of the
Renaissance had an endpoint and a truth, these new labyrinthine
infrastructures, as Kristin Veel points out, had a much more complex
relationship to the spatial organization of the truth. Eco and Deleuze and
Guattari thus conceived of their labyrinths as networks “in which all points
can be connected with one another” with “no center” but “an almost unlimited
multiplicity of alternative paths,” which makes it “impossible to rise above
the structure and observe it from the outside, because it transcends the
graphic two-dimensionality of the two earlier forms of labyrinths.”58 Deleuze
expressed the senselessness of these contemporary labyrinths as a “theater
where nothing is fixed, a labyrinth without a thread (Ariadne has hung
herself).”59
In mass digitization, this new infrastructural imaginary feeds a looming
concern over
e capitalism.” Yet, despite connectivity taking center stage, even
these platforms were described as territorializing constructs that favor some
organizations and corporations over others.104
In the twentieth and twenty-first centuries, as Gilles Deleuze and Felix
Guattari successfully urged scholars and architects to replace roots with
rhizomes, the notion of platform began taking on yet another meaning. Deleuze
and Guattari began fervently arguing for the nonexistence of rooted
platforms.105 Their vision soon gave rise to a nonfoundational understanding
of the world as a “limitless multiplicity of positions from which it is
possible only to erect provisional constructions.”106 Deleuze and Guattari’s
ontology became widely influential in theorizing the web _in toto_ ; as Rem
Koolhaas once noted, the “language of architecture—platform, blueprint,
structure—became almost the preferred language for indicating a lot of
phenomen
sage-statistics>. 56. Joris Pekel, “The Europeana Statistics Dashboard is
here,” _EuropeanaPro_ , April 6, 2016,
2003, 154. 59. Deleuze 2013, 56. 60. Interview with professor of library and
information science working with Europeana, Berlin, Germany, 2011. 61. Borges
mused upon the possible horrendous implications of such a lack, recounting two
labyrinthine scenarios he once imag
e all the tributary to her; and on the same platform, this
distance between her and other nations … instead of diminishing, would be
forever increasing, till … she would become the focus of the wealth, grandeur,
and power of the world.” 105. Deleuze and Guattari 1987. 106. Solá-Morales
1999, 86. 107. Budds 2016. 108. Gillespie 2010, 351. 109. Gillespie 2010, 350.
Indeed, it might be worth resurrecting the otherwise-extinct notion of
“plotform” to reinscribe agency and planning into
earch Settlement and Orphan Works Legislation in the European Union.” _New York Law School Law Review_ 55 (1): 157–174.
84. DeLanda, Manuel. 2006. _A New Philosophy of Society: Assemblage Theory and Social Complexity_. London: Continuum.
85. Deleuze, Gilles. 1997. “Postscript on Control Societies.” In _Negotiations 1972–1990_ , 177–182. New York: Columbia University Press.
86. Deleuze, Gilles. 2013. _Difference and Repetition_. London: Bloomsbury Academic.
87. Deleuze, Gilles, and Félix Guattari. 1987. _A Thousand Plateaus: Capitalism and Schizophrenia_. Minneapolis: University of Minnesota Press.
88. DeNardis, Laura. 2011. _Opening Standards: The Global Politics of Interoperability_. Cambridge, MA: MIT Press.
deleuze in Weinmayr 2019
le of Gilles
Deleuze’s Proust and Signs[96](ch11.xhtml#footnote-430) explored the
materiality of print and related questions about the institutional policies of
authorisation. Chapman produced a handmade facsimile of his personal paperback
copy of Deleuze’s work, including binding mistakes in which a few pages were
bound upside down, by scanning and printing the book on his home inkjet
printer. The book is close to the original format, cover and weight. However,
it has a crafty feel to it: the ink s
g.org/PublicCatalogue/PCat_record.php?cat_index=99)
Piracy Project Catalogue / Camille Bondon, Jacques Rancière: le mâitre
ignorant,
Piracy Project Catalogue / Neil Chapman, Deleuze, Proust and Signs,
Piracy Project (19 April 2012) ‘The Impermanent Book’, Rhizome,
Policante, Amedeo (2015) The
sed that members of the community should volunteer at
institutions, such as local public libraries, which otherwise could not
survive because of government cuts.
[96](ch11.xhtml#footnote-430-backlink) See the Piracy Project catalogue: Neil
Chapman, Deleuze, Proust and Signs,
[97](ch11.xhtml#footnote-429-backlink) Of course unconventional publications
can and are being collected, but these are often more arty objects, flimsy or
ove
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