Suggests an open system of psychological exploration to cut through accepted norms of morality, language, and politics.

A User's Guide to Capitalism and Schizophrenia is a playful and emphatically practical elaboration of the major collaborative work of the French philosophers Gilles Deleuze and Felix Guattari. When read along with its rigorous textual notes, the book also becomes the richest scholarly treatment of Deleuze's entire philosophical oeuvre available in any language. Finally, the dozens of explicit examples that Brian Massumi furnishes from contemporary artistic, scientific, and popular urban culture make the book an important, perhaps even central (...) text within current debates on postmodern culture and politics.Capitalism and Schizophrenia is the general title for two books published a decade apart. The first, Anti-Oedipus, was a reaction to the events of May/June 1968; it is a critique of "state-happy" Marxism and "school-building" strains of psychoanalysis. The second, A Thousand Plateaus, is an attempt at a positive statement of the sort of nomad philosophy Deleuze and Guattari propose as an alternative to state philosophy.Brian Massumi is Professor of Comparative Literature at McGill University. (shrink)

Published in 1972, Anti‐Oedipus was the first of a number of collaborative works between the French philosopher, Gilles Deleuze, and the French psychoanalyst and political activist, Felix Guattari. As the first of a two‐volume body of work that bears the subtitle, Capitalism and Schizophrenia, Anti‐Oedipus is, to say the least, an unconventional work that should be understood, in part, as a product of its time – created as it was among the political and revolutionary fervour engendered by the (...) events of ‘May 1968’. However, this paper will suggest that Anti‐Oedipus – as a critique of psychoanalysis and the Oedipus complex, as well as being a study of the relationship between capitalism and schizophrenia – should also be understood in a less ‘time‐bound’ fashion. In particular, the paper will examine Deleuze and Guattari’s formulation of a concept of ‘desire’ and its employment in relation to subjectivity, time, capitalism, representation, and the radical ‘therapeutic’ practice that they refer to as ‘schizoanalysis’. Moreover, nearly 40 years after the events of May 1968 and against possible doubts concerning the contemporary relevance of psychoanalysis, it will be suggested that psychoanalysis and the Oedipus complex are to be understood as symptomatic of a wider ‘malaise’ that can be discerned within psychiatry, psychotherapy, and contemporary capitalist society itself, and that it is this that forms the broader target of the book’s critique. Accordingly, by providing an accessible and critical introduction to Anti‐Oedipus, the paper also hopes to stimulate further discussion and research regarding both the critique and the contribution that the work can make to contemporary psychiatry, psychotherapy, and mental health nursing generally. (shrink)

In Anti-Oedipus, Deleuze and Guattari claim that a general theory of society must be a generalised theory of flows. This is hardly a straightforward claim, and this paper attempts to examine the grounds for it. Why should socio-political theory be based on a theory of flows rather than, say, a theory of the social contract, or a theory of the State, or the questions of legitimation or revolution, or numerous other possible candidates? The concept of flow (and the related notions (...) of code and stock), I argue, is derived from contemporary economic theory, and most notably John Maynard Keynes. Deleuze and Guattari remained Marxists, not only because they held that contemporary political philosophy must inevitably be centred on the analysis of capitalism, but also because they held, following Marx himself, that the Marxist analysis of capital must constantly be transformed and adapted to new conditions. Thus, while certain aspects of Marx's analysis disappear from Capitalism and Schizophrenia, they are supplemented by the addition of new concepts adequate to the contemporary state of capitalism. The paper concludes, then, with an analysis of the role played by the concepts of flow, code and stock in Deleuze and Guattari's political philosophy. (shrink)

Both accessible and definitive, Deleuze and Guattari provides a critical examination of the writing of two notoriously difficult thinkers. This important introduction is divided into three sections--knowledge, power, and desire--and provides a systematic account of the intellectual context as well as an exhaustive analysis of the key themes informing Deleuze and Guattari's work. Providing a framework for reading the important and influential study Capitalism and Schizophrenia, this volume is attentive to the needs of the student by providing a (...) lexicon of the difficult ideas used in Deleuze and Guattari's discussion of philosophy, art, and politics. Deleuze and Guattari is an important addition to the critical literature on some of the most challenging work in recent social theory. It will be the standard introduction to Deleuze and Guattari for students of philosophy and social theory. (shrink)

First published in 1997, Alain Badiou's _Deleuze: The Clamor of Being_ cast Gilles Deleuze as a secret philosopher of the One. In this work, Clayton Crockett rehabilitates Deleuze's position within contemporary political and philosophical thought, advancing an original reading of the thinker's major works and a constructive conception of his philosophical ontology. Through close readings of Deleuze's _Difference and Repetition_, _Capitalism and Schizophrenia_ (with Felix Guattari), and _Cinema 2_, Crockett argues that Deleuze is anything but the austere, quietistic, and aristocratic (...) intellectual Badiou had portrayed. Instead, Crockett underscores Deleuze's radical aesthetics and innovative scientific, political, and mathematical forms of thought. He also refutes the notion Deleuze retreated from politics toward the end of his life. Using Badiou's critique as a foil, Crockett maintains the profound continuity of Deleuze's work and builds a general interpretation of his more obscure formulations. (shrink)

In recent years the humanities, social sciences and neuroscience have witnessed an 'affective turn, ' especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without (...) passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from "isolated and passionate cries" that deny what everybody knows and what nobody can deny: "every true thought is an aggression." This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (betise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. Instead of truth as the ultimate criterion of judgment, the only principle according to which affective becomings can be selected and evaluated is the extent to which they proliferate joy. Spinoza and Marx show how the recruitment of desire traditionally takes place through the tyrants and priests who inspire sad passions in us. Similarly, the work of Deleuze and Guattari on capitalism and schizophrenia can be read as an encyclopedia of the passions that constitute the affective infrastructure of the socius of contemporary capitalism. If it takes a lot of inventiveness or imagination to be able to diagnose our present becomings, this is because becomings are always composites of joyful and sad passions. Capitalism could not exist if it did not also inspire happiness, love, courage, and perhaps even beatitude. That is why, today, we witness "the spectacle of the happily dominated" (Frederic Lordon) of the self-entrepreneur, the managerial class, the flex worker, the citizen-consumer, the bean-roasting hipster, and the self-managed team. It is within this field of contradictory and heterogeneous passions that the authors of this volume pursue the diagnosis of our past and present becomings. Their contributions add up to a systematic taxonomy of the passions and indicate their importance for a thinking that reaches beyond itself. (shrink)

Perhaps because of their dismissal of him as living ‘une carrière à l’américaine’, there have been few attempts to explore the relationship between the work of Gregory Bateson and that of Deleuze and Guattari. This paper offers two ways in which we might do this. First, it explores the concepts, such as plateau of intensity and rhizome, which migrate from Bateson into Capitalism and Schizophrenia. This helps focus on this text as an attempt to create and imagine non-schismogenic (...) forms of social relation. Here, the earthliness of this work is a necessary ‘grounding’ for the plateaus that Deleuze and Guattari seek to develop. Second, this paper builds on this by looking at Guattari’s concept of ecosophical subjectivity, arguing that Bateson is crucial for the ‘ethico-political’ dimensions of this work. It concludes with the claim that as a key influence on their work, exploring Bateson in relation to Deleuze and Guattari can open up new understandings of the ‘earthliness’ of their ideas. (shrink)

Throughout his career, Deleuze developed a series of original philosophies of time and applied them successfully to many different fields. Now James Williams presents Deleuze's philosophy of time as the central concept that connects his philosophy as a whole. Through this conceptual approach, the book covers all the main periods of Deleuze's philosophy: the early studies of Hume, Nietzsche, Kant, Bergson and Spinoza, the two great philosophical works, Difference and Repetition and Logic of Sense, the Capitalism and Schizophrenia (...) works with Guattari, and the late influential studies of literature, film and painting.The result is an important reading of Deleuze and the first full interpretation of his philosophy of time. (shrink)

Writings on Deleuze and Guattari's twin volumes, Capitalism and Schizophrenia, have often focused on questions about desire, body without organs, the schizophrenic etc. There have been a few notable exceptions that have attempted to articulate and expound upon the numerous political problems that Deleuze and Guattari attempt to resolve through analyses of concepts such as de-/re-territorialization, coding and re-coding etc, however a specter is haunting Deleuze and Guattari that has yet to be explained, articulated and debated; the specter (...) of Karl Marx. This volume attempts to analyze the relationship between Deleuze and Marx and their respective works. This volume is an intervention into the fields of Deleuze Studies, Marxist and Marxian philosophy and political economy, and critiques of capitalism through an examination of the relationship between Deleuze and Marx. Themes that will be covered in this volume include hegemony and theories of imperialism, the role of philosophy in changing the world, surplus, tensions between the virtual and the potential, ideology and noology, modes of production, and the very nature of anti-capitalist politics in Deleuze's work. This volume will be of interest to people interested in Deleuze Studies who are interested in questions of politics and critiques of capitalism, Marxist theory and philosophy and people interested in political economy. Key Features:*offers new perspectives on Deleuze's early work*illuminates new connections between Deleuze's and Marx's work*includes a critical re-reading of Deleuze's work*foregrounds a critique of Capitalism in Deleuze's workContributors include: Bruno Bosteels, Alberto Toscano, Jason Read, Jeremy Gilbert Simon Choat and Aidan Tynan. (shrink)

A Thousand Plateaus is the engaging and influential second part of Capitalism and Schizophrenia, the remarkable collaborative project written by the philosopher Gilles Deleuze and the psychoanalyst Félix Guattari. This hugely important text is a work of staggering complexity that made a major contribution to contemporary Continental philosophy, yet remains distinctly challenging for readers in a number of disciplines. Deleuze and Guattari's 'A Thousand Plateaus': A Reader's Guide offers a concise and accessible introduction to this extremely important and (...) yet challenging work. Written specifically to meet the needs of students coming to Deleuze and Guattari for the first time, the book offers guidance on: - Philosophical and historical context - Key themes - Reading the text - Reception and influence - Further reading. (shrink)

Exactly when Philosophy of Psychiatry started as a subfield of Philosophy is hard to say. There are several different estimates of how old psychiatry itself is, from one hundred to three hundred years, and of course there has been discussion and treatment of mental illness for at least a couple of thousand years. A host of issues which could count as belonging to the field have been discussed just within the last hundred years. For instance, a large literature on the (...) philosophy of psychoanalysis dates back to the beginning of the century, and in the last thirty years there has been discussion of amnesia and multiple personality in the philosophy of mind, bioethical debate about involuntary hospitalization and the ability of the mentally ill to give informed consent to drug trials, and recent continental philosophy has shown much interest in madness, civilization, capitalism and schizophrenia. However, I suggest that Philosophy of Psychiatry reached a sense of itself as a separate field only in the 1990s. In this time, it has gained its own association, journal, and a book series with a prestigious press. I refer to the American Association for Philosophy and Psychiatry, the associated journal, Philosophy, Psychiatry, and Psychology, and the MIT Press series, Philosophical Psychopathology: Disorders of Mind, edited by Owen Flanagan and George Graham. Jennifer Radden's Divided Minds and Successive Selves is the first book in that series. (shrink)

In this essay, I examine the ‘Postulates of Linguistics’ chapter of A Thousand Plateaus. In regard to this chapter, I aim to demonstrate something that has remained unrecognised about minor language in Deleuze and Guattari. I aim to show not only the characteristics of Deleuzian speaking in tongues that overlap with Foucaultian speaking-freely and with Derridean speaking-distantly, but also and more importantly, I hope to show how it is possible for us to make a language speak in tongues. Derrida's way (...) of speaking is made only by forming an enunciation that states a self-contradiction, which thereby makes the enunciation imply more than it says. Foucault's way of speaking is made only by forming an enunciation that states the truth directly and loudly, which thereby makes the enunciation do more than it says. And finally, Deleuze way of speaking is made only by forming an enunciation that states a command abstracted from its context, which thereby makes the enunciation proliferate. All three ways of speaking are made not for the benefit of the speaker, but ‘in favour of’ others. And perhaps this speaking ‘in favour of’ others will allow us to come to understand the true meaning of the phrase ‘capitalism and schizophrenia’. (shrink)

In the two volumes which make up Capitalism and Schizophrenia, Deleuze and Guattari propose new concepts of “machine” and “organism.” The problem of the relationship between machines and organisms has a long philosophical history, and this essay treats their work as a contribution to this debate. It is argued that their solution to this problem is found in their difficult concept of the “body without organs,” a concept that is given some much-needed clarification in the essay. The first (...) section details Deleuze and Guattari’s concept of the machine, examining the ways in which it differs from the traditional concept as described by Canguilhem: their machines do not have predictable movements, but instead produce events; they do not have a purpose; they are able to reproduce themselves. The second section details their conception of the organism through their account of Geoffroy Saint-Hilaire: organisms are bodies which normalize and which create hierarchies; they also do not have a purpose; they have a “unity of composition.” The final section argues that their concept of the “body without organs” shows us how to understand the relation between the two transformed concepts, and defines the body without organs as the becoming-machine of the organism. (shrink)

Gilles Deleuze and Felix Guattari’s work has been mined by writers about music and music education such as Ian Buchanan, Marcel Swiboda, Marianne Kielian-Gilbert, and Elizabeth Gould, as they have reflected on how music and music education should be construed. 1 Our present task is to examine critically Deleuze and Guattari’s ideas in our reading of their book A Thousand Plateaus: Capitalism and Schizophrenia, with a view to determining the merits of their ideas as a basis for a (...) philosophy of music education. 2 As such, we ask three principal questions: What are Deleuze and Guattari asking us to believe? What is our assessment of their contributions and detractions? What are the implications of our analysis for.. (shrink)

What is Philosophy?, the third volume of the series of books that Gilles Deleuze and Félix Guattari wrote on “Capitalism and Schizophrenia”, presents us with a rather unusual idea, but one that is essential to understanding contemporary philosophical thought: the notion that philosophy is a concept-creating machine that must be connected to other machines, such as the arts and the sciences. Philosophy, science, and art are three distinct forms of reliable thinking. Given the heterogeneity of thinking, in what (...) sense can the three distinct forms of thinking answer the problem of creating concepts and using the machine as an allegory? This essay aims to analyse philosophy’s role in its relation to artistic and scientific practices by examining Dziga Vertov’s Man with a Moving Camera. It will focus on three guiding principles: creation is not exclusive to art and the sensible; philosophy mediates the relation between art and the sciences; and this mediation aims to keep their discord alive, not to solve it. (shrink)

In the introduction to the second volume of Capitalism and Schizophrenia Gilles Deleuze and Félix Guattari develop, under the tide Rhizome, the principles of a new method of thinking. One could, with the certain approval of the authors, turn around the theorem of Carl Schmitt and claim that, since the “highpoints of great [philosophy] are at the same time those moments in which the enemy is sighted in concrete distinctness as an enemy,” rhizome-thinking also starts out from the (...) definition of the enemy. It is discerned in Western Rationalism, which rhizome-thinking rejects in all its historical manifestations. An argumentational strategy characteristic of rhizome-thinking is thus made visible: that it again and again reproduces the categories that it negates. (shrink)

In Anti-Oedipus, Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari analyze the manner in which what they refer to as deterritorialized flows of desire, have been reduced to state, family or religious hierarchies. Matter, capital, and libido are among the flows of desire for which nature and human nature are processes of production. The author’s argue that there is really only one process of desiring-production, that now capitalism and psychoanalysis are inextricably linked, and that the former produces (...) subjective abstract labor, while the latter produces subjective abstract libido. Thus although nothing exists outside of the socius, without its inhabitants, there is no socius: “they are strictly inseparable and constitute one and the same process of production.” This leaves one with the uncomfortable conclusion that social repression and psychic repression are one and the same mechanism, and insofar as the transition from primitive territories, to barbarian despots, to civilized capitalists, which they refer to as State power, has proceeded lock-step, that there is possibly no place else to go. (shrink)

"The texts and interviews collected in Chaosophy were written in the wake of May '68. They elaborate on the groundbreaking theories of capitalism and schizophrenia that Felix Guattari introduced with Gilles Deleuze in Anti-Oedipus in 1972, one of the most important books of our time. Boldly rewriting Marx's vision of capitalism in terms of schizophrenic flows, Guattari substituted the Freudian interpretation of neurosis with the model of "schizoanalysis," advocating a more pragmatic, experimental, and collective approach to mental (...) phenomena that opened the way to a micropolitical subversion of the capitalist system."--BOOK JACKET. (shrink)

"Mille Plateaux (Paris, Éditions de Minuit, 1980) est le second des deux volumes ayant pour sous-titre Capitalisme et schizophrénie issu de la collaboration entre le philosophe Gilles Deleuze et le philosophe et psychanalyste Félix Guattari. Cet ouvrage continue à explorer par des voies inédites - en s'attaquant notamment à une série d'erreurs afférentes selon les auteurs à l'arborescence, à l'État, au langage... - la question déjà avancée dans L'Anti-Œdipe (premier volume) d'une ontologie révolutionnaire des devenirs ("presque imperceptibles") qui ne cessent (...) de défaire l'histoire des identités ("primauté des lignes de fuite") et de produire des "coups" imprévisibles au sociologue et au militant. Sans doute le livre politique de Deleuze et Guattari le plus important, grâce à sa conception originale du pluralisme (l'individu n'y est pas conçu comme fondement de l'organisation sociale : les subjectivités sociales sont toujours au-dessus ou en dessous du niveau de l'individu, composant et décomposant des collectivités de toutes sortes)"--Wikipedia = Mille Plateaux (Paris: Editions de Minuit, 1980) is the second of two volumes which comes in the series of Capitalism and Schizophrenia is a result of collaboration between the philosopher Gilles Deleuze and Felix Guattari, philosopher and psychoanalyst. This book continues to explore new paths - including addressing a series of errors by the authors related to the tree, the state, the language... - that are already dealt with in Anti-Oedipus (first volume) of an ontology of revolutionary futures; the latter continues to unravel the history of identities ("primacy of lines of flight") and produce "coups" unforeseeable to the sociologist and activist. No doubt the political book of Deleuze and Guattari's is the most important, with its original conception of pluralism (the individual is not conceived as the foundation of social organization: social subjectivities are always above or below of the individual level, composing and decomposing communities of all kinds).". (shrink)

This article is essentially a brief reflection on time in the context of Donna Haraway's recent work When Species Meet (2008), and in particular her rejection of Deleuze and Guattari's notion of 'becoming animal' in their A Thousand Plateaus Capitalism and Schizophrenia (1987). The exception Haraway takes to Deleuze and Guattari's approach to human-animal relations is considered as indicative of wider fissures in contemporary critical theory that have failed to respond to the global crisis of the sixth earth (...) extinction event. Yet there are also points of confluence in their respective positions that provide the potential for a more coherent politics of eco-critique. (shrink)

In this commentary I respond to the claims of Dimitris Vardoulakis that, following a mistake of Heidegger in his translation of Aristotle and the apparent loss of phronêsis, post-war continental philosophy has abandoned instrumental rationality and the calculation of utility, instead valorizing an ‘action without ends’ and instituting a ‘new Kantianism’ in its ethics, politics, and ontology. I do so by presenting the thought of Gilles Deleuze as one identified in this tradition who fails to be characterized by Vardoulakis’s claims, (...) and whose concepts already address these concerns. I first demonstrate how Deleuze’s ontology, as presented in Difference and Repetition, avoids relying on or constructing a meaningful, ontological outside, and so Vardoulakis’s characterization of a new Kantianism. And secondly, I respond to Vardoulakis’s critique of continental ethics by presenting the ethical notions in both The Logic of Sense and Capitalism and Schizophrenia as stemming from distinct ethical heritages (the former building on that of the Stoics, the latter primarily that of Spinoza), as well as both providing immanent direction to our actions, providing what can be read as the revisable, calculable reasoning Vardoulakis associates with phronêsis. In this way I show that his category of the ‘ineffectual’ cannot apply to all post-war continental philosophy as Vardoulakis so claims. (shrink)

An early work that lays the foundation for establishing a “polemical” dimension to psychoanalysis. We certainly have the unconscious that we deserve, an unconscious for specialists, ready-made for an institutionalized discourse. I would rather see it as something that wraps itself around us in everyday objects, something that is involved with day-to-day problems, with the world outside. It would be the possible itself, open to the socius, to the cosmos...—from The Machinic Unconscious: Essays in Schizoanalysis In his seminal solo-authored work (...) The Machinic Unconscious, Félix Guattari lays the groundwork for a general pragmatics capable of resisting the semiotic enslavement of subjectivity. Concluding that psychoanalytic theory had become part and parcel of a repressive, capitalist social order, Guattari here outlines a schizoanalytic theory to undo its capitalist structure and set the discipline back on its feet. Combining theoretical research from fields as diverse as cybernetics, semiotics, ethnology, and ethology, Guattari reintroduces into psychoanalysis a “polemical” dimension, at once transhuman, transsexual, and transcosmic, that brings out the social and political—the “machinic”—potential of the unconscious. To illustrate his theory, Guattari turns to literature and analyzes the various modes of subjectivization and semiotization at work in Proust's In Search of Lost Time, examining the novel as if he were undertaking a scientific exploration in the style of Freud or Newton. Casting Proust's figures as abstract mental objects, Guattari maps the separation between literature and science, elaborating along the way such major Deleuze-Guattarian concepts as “faciality” and “refrain,” which would be unpacked in their subsequent A Thousand Plateaus: Capitalism and Schizophrenia. Never before available in English, The Machinic Unconscious has for too long been the missing chapter from Deleuze and Guattari's Anti-Oedipus project: the most important political extension of May 1968 and one of the most important philosophical contributions of the twentieth century. (shrink)

Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition , he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze (...) was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia , comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991). (shrink)

We certainly have the unconscious that we deserve, an unconscious for specialists, ready-made for an institutionalized discourse. I would rather see it as something that wraps itself around us in everyday objects, something that is involved with day-to-day problems, with the world outside. It would be the possible itself, open to the socius, to the cosmos...--from The Machinic Unconscious: Essays in SchizoanalysisIn his seminal solo-authored work The Machinic Unconscious, Félix Guattari lays the groundwork for a general pragmatics capable of resisting (...) the semiotic enslavement of subjectivity. Concluding that psychoanalytic theory had become part and parcel of a repressive, capitalist social order, Guattari here outlines a schizoanalytic theory to undo its capitalist structure and set the discipline back on its feet. Combining theoretical research from fields as diverse as cybernetics, semiotics, ethnology, and ethology, Guattari reintroduces into psychoanalysis a "polemical" dimension, at once transhuman, transsexual, and transcosmic, that brings out the social and political--the "machinic"--potential of the unconscious.To illustrate his theory, Guattari turns to literature and analyzes the various modes of subjectivization and semiotization at work in Proust's In Search of Lost Time, examining the novel as if he were undertaking a scientific exploration in the style of Freud or Newton. Casting Proust's figures as abstract mental objects, Guattari maps the separation between literature and science, elaborating along the way such major Deleuze-Guattarian concepts as "faciality" and "refrain," which would be unpacked in their subsequent A Thousand Plateaus: Capitalism and Schizophrenia.Never before available in English, The Machinic Unconscious has for too long been the missing chapter from Deleuze and Guattari's Anti-Oedipus project: the most important political extension of May 1968 and one of the most important philosophical contributions of the twentieth century. (shrink)

By most accounts Deleuze's engagement with Marx begins with the two volumes of Capitalism and Schizophrenia he co-authored with Félix Guattari. However, Deleuze's Difference and Repetition alludes to a connection between Deleuze's critique of common sense and Marx's theory of fetishism, suggesting a connection between the critique of the image of thought and the critique of capital. By tracing this connection from its emergence in the early texts on noology, or the image of thought, to the development in (...) the critique of state thought in A Thousand Plateaus, it can be argued that what initially appears as an entirely infra-philosophical problem, concerned with the presuppositions of philosophy, is not only a political problem as well, but ultimately bears on the very nature of the conjunction between thought and politics, making possible a re-examination of what is meant by revolutionary thought. It is a transition from noology to noopolitics. In the end it can be argued that revolutionary thought is no longer an eschatology, attempting to discern the signs of the future revolution in the present, but a thought oriented towards everything that exceeds the fetish of society, towards the virtual relations and micropolitical transformations that constitute society but exceed its representation. (shrink)

The article contains general definition of the phenomenon of hypertext and the Internet in a virtual consciousness philosophy of post-modernism. Describes the phenomenon of hypertext as nonlinear forms of computer and literary texts, its structural units and the main aspects of the organization of hypertext. The article contains the detailed analysis of publications on the issue of hypertext and the history of investigation of this problem. The specific features which allow defining of hypertext as the brand new phenomenon are analyzed (...) in the article. Among them we can mention the following points: - Hypertext is constantly updateable, amendable, editable; - Hypertext has neither any set beginning or the end nor any hierarchical structure; - Hypertext has decentralized nature; - The specific features of hypertext are manifested in text transformations. If an "ordinary" text has linear character, and one can move in its "area" only in the directions limited by one and the same space, then rhizomorphic hypertext opens new "transverse" changes in the text Universe. The way of organizing of text in Internet corresponds to the major ideas of "nomadology" and "Rhizome" developed by Gilles Deleuze and F?lix Guattari in their Capitalism and Schizophrenia project. Postmodernist electronic hypertext is a phenomenon by its nature opposite to modernist printed text. This allows us to consider hypertext as one of the features of coming of "post- Gutenberg era". Hypertext fundamentally changes the way of construction of text environment - to replace the one-dimensional text comes multi-dimensional. In the phenomenon of the global information network, created on the basis of hypertext technology, - intertextual fiber, series of texts, which intercross with other texts, produce new texts. In conclusions of the article - the characterization of hypertext as postmodernist phenomenon is given and the major views of postmodernism which are represented in hypertext - plurality, decentration, fragmentariness, intertextuality - are provided. (shrink)

This paper introduces post-place branding in the context of the post-representationalist turn in marketing research by drawing on Deleuze and Guattari’s (A thousand plateaus: capitalism and schizophrenia, University of Minnesota Press, Minneapolis, 1987) theory of nomadology. By engaging critically with fundamental concepts in the place and destination branding literature, post-place branding offers an alternative perspective to entrenched definitions of subjectivity, place, and event experiencing, by effecting a paradigmatic shift from processing monad to nomad, from event as symbolic structure (...) to micro-events, from pre-constituted place to spacing in the process of deand reterritorializations. Post-place branding is illustrated by re-imagining the brand architectural components of the experiential events of 70,000 Tons of Metal and The Boiler Room. The analysis culminates in a metaphorical modeling exercise that draws nomadological guidelines for brandcomms’ message strategy. (shrink)

Initially coined by Weizenbaum in 1976, ‘alien' thought refers to the radical difference with which ‘thinking machines’ approach the process of thinking. The contemporary paradox of over-determination and indeterminacy—caused largely by algorithmic decision-making in the civic realm—makes these differences both more entangled and more difficult to navigate. In this essay, I trace over-determination to Leibniz and Turing’s axiomatic procedures and to instrumental rationality, and I trace indeterminacy to the mid-twentieth century co-development of computers and neurosciences to advance the following proposition: (...) understanding alien thought requires understanding incomputability, temporal swarming, and inscriptive-significational errance. Understanding these phenomena in turn requires understanding thinking by doing, distributed thinking, and ontological indeterminacy. All are present in machinic operations as well as in the twentieth century experimental artistic practices of artists such as Duchamp, Cage, and Xu. These practices rely on indeterminate procedures and function as diagrammatic machines. A diagrammatic machine is neither abstract nor particular; neither an idea that is determining in the supreme instance, nor an infrastructure that is determining in the last instance, but rather instantiates a real yet to come (Deleuze and Guattari in A thousand plateaus: capitalism and schizophrenia: Trans. Massumi B, University of Minnesota Press, Minneapolis, 1987). In this essay, indeterminate artistic practices are used as an entry into alien thought and its correlates—infinity and complexity—by way of aesthetic analogy. (shrink)

Perhaps the question “What is philosophy?” can only be posed late in life, when old age has come, and with it the time to speak in concrete terms. It is a question one poses when one no longer has anything to ask for, but its consequences can be considerable. One was asking the question before, one never ceased asking it, but it was too artificial, too abstract; one expounded and dominated the question, more than being grabbed by it. There are (...) cases in which old age bestows not an eternal youth, but on the contrary a sovereign freedom, a pure necessity where one enjoys a moment of grace between life and death, and where all the parts of the machine combine to dispatch into the future a trait that traverses the ages: Turner, Monet, Matisse. The elderly Turner acquired or conquered the right to lead painting down a deserted path from which there was no return, and that was no longer distinguishable from a final question. In the same way, in philosophy, Kant’s Critique of Judgment is a work of old age, a wild work from which descendants will never cease to flow.We cannot lay claim to such a status. The time has simply come for us to ask what philosophy is. And we have never ceased to do this in the past, and we already had the response, which has not varied: philosophy is the art of forming, inventing, and fabricating concepts. But it was not only necessary for the response to take note of the question; it also had to determine a time, an occasion, the circumstances, the landscapes and personae, the conditions and unknowns of the question. One had to be able to pose the question “between friends” as a confidence or a trust, or else, faced with an enemy, as a challenge, and at the same time one had to reach that moment, between dog and wolf, when one mistrusts even the friend. Gilles Deleuze was professor of philosophy at the University of Paris VIII, Vincennes-St.-Denis, until his retirement in 1987. Among his books translated into English are the two-volume Capitalism and Schizophrenia , the two-volume Cinema , The Logic of Sense , and Expressionism in Philosophy: Spinoza . Daniel W. Smith is a doctoral candidate in philosophy at the University of Chicago. He is at work on a study of the philosophy of Deleuze, and is translating Deleuze’s Francis Bacon: Logique de la sensation. Arnold I. Davidson, executive editor of Critical Inquiry, teaches philosophy at the University of Chicago and is currently Marta Sutton Weeks Fellow at the Stanford Humanities Center. (shrink)

Fascism, according to the Deleuzo-Guattarian perspective and new materialist viewpoints, can be conceived of in terms of desire. In mediating desire’s pure flows, the schizoanalytical programme attempts to bypass what Deleuze calls ‘the strange detour of the other’ (B, 356). In this respect, concepts developed in Gilles Deleuze and Félix Guattari’s Capitalism and Schizophrenia cycle are critical to the project of the problematic of desire, the other and (neo-)fascism. In this chapter, we explore how Deleuzo-Guattarian anti-fascist concepts, such (...) as the Body without Organs (BwO), together with new materialist approaches towards vital materialism, may help us to ‘keep an eye on all that is fascist, even [the fascist] inside us’ (TP, 165). Such a critical-creative analysis, we argue, is needed to distinguish contemporary vitalist new materialisms from so-called Lebensphilosophien (philosophies of life) and frame the rise of neoliberal capitalism-supported regimes of neo-fascism. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Emerging action perspectives on psychopathology depict individuals as actively shaping those environmental conditions that then impact on their risk for psychopathology, resilience in the face of it, and successful recovery from it. This view, although having important implications for research and clinical practice, has yet to be articulated in terms of its underlying philosophical framework. To begin to address this challenge, we situate action theory in the context of the writings of Deleuze and Guattari, who, in their seemingly anti-psychiatric series (...) entitled Capitalism and Schizophrenia, argue for the central role of human agency as a fundamentally active force in determining subjective life. Within this context, they propose an alternative approach to the current deficit focus of much psychopathology research, replacing the notion of deficit with a fundamentally productive notion of desire (what they call “desiring-production”). After our exposition of this philosophical perspective on human agency, implications of this approach for action-informed research and clinical practice are discussed. (shrink)

Félix Guattari visited Japan on a number of occasions during the 1980s. These visits consisted of invited lectures and a series of conversations and collaborations with Japanese intellectuals, artists, and architects. His collaborative writings with Deleuze, particularly the Kafka and Rhizome books, began to appear in Japanese translation in the late 1970s. By the mid-eighties, however, Anti-Oedipus was available for Japanese readers. The year 1985 saw the publication of Guattari's conversations and co-authored papers with Japanese dancer Min Tanaka collected under (...) the title of Velocity of Light, Fire of Zen: Assemblage 1985. This was followed in 1986 with the translation of Guattari's jointly authored volume with Antonio Negri, Les nouveaux espaces de liberté. In the same year, the colourful volume Tokyo Theatre: Guattari in Tokyo appeared. This volume includes the present translation. It also contains multiple contributions by leading Japanese intellectuals, especially ‘neo-academicist’ types like Akira Asada who were inspired by Deleuze and Guattari's philosophy in the first two volumes of Capitalism and Schizophrenia. (shrink)

This research aims to examine the concept of haecceity conceived by Gilles Deleuze and Félix Guattari - which has started from the notion given to the concept in A Thousand Plateaus - Capitalism and Schizophrenia 2 (Mille Plateau: capitalisme et schizophrénie 2, 1980). To illustrate this concept the philosophers turned to literature, and more specifically the Proustian literature. They affirm that the haecceity concept has found in the episode with the small group (la petite bande) of girls in (...) the seaside town of Balbec - the novel by Marcel Proust, In Search of Lost Time (À la recherche du temps perdu, 1913-1927) ¬- its best translation: "What's a girl, what is a group of girls? Proust at least show us and for all that their individuation, collective or singular, proceeds not by subjectivity but by haecceity, pure haecceity" (A Thousand Plateaus - Capitalism and Schizophrenia 2. Translation and foreword by Brian Massumi, Minnesota Press, 1987: 271). According to the Deleuzian thought, the fundamental question of haecceity concept is concentrated in its own definition: an individuation devoid of subjectivity, foreshadowing an individual who doesn't belong to individuation anymore, but it does to singularization. This non-subjectivated affirmation is part of an innovative philosophical proposal which has its own conceptual vocabulary: haecceity will exist in a new space (not extensive), where there's no distinction between the beginning or the end; the middle is where haecceity (formed by lines and not by points) will present itself as a rhizome. This mode of impersonal individuation reveals itself as a cartography that is made by forces - longitude - and intensities - latitude. Taking the group of girls as such a composition of forces moving, we will extract Albertine Simonet from it. She has the synonym of a group, and being adopted as an intercessor, she will leave the "group by group". The trajectory of this poetic and psychosocial entity (where the concept of haecceity originates from), will support us in the examination of the mode of existence of haecceity. (shrink)

Este artículo analiza los aspectos centrales de la concepción del Estado en El Anti-Edipo. Capitalismo y esquizofrenia, en particular los desarrollos ofrecidos en el capítulo tercero: "Salvajes, Bárbaros, Civilizados". La innovadora figura del Estado surge de un juego polifónico, abigarrado, discontinuo y elíptico con Karl Marx a partir de la noción de Modo de producción asiático; con Friedrich Nietzsche considerando la noción de origen y domesticación; y con Sigmund Freud siguiendo la noción de latencia. Los rasgos centrales para su conceptualización (...) se sintetizan en: 1) El Estado despótico como momento paradigmático de todo Estado y 2) el Estado es entendido como máquina social, en su doble articulación: social y libidinal. The article analyzes the key aspects of the conception of the State in The Anti-Oedipus. Capitalism and Schizophrenia, in particular the developments offered in chapter three: "Savages, Barbarians, Civilized". The innovative idea of the State arises from a game polyphonic from the notion of Asian Production Mode, from the concept of origin and domestication, and from the notion of latency. The central features for conceptualization are summarized as follows: 1) The Despotic State as paradigmatic moment of every State and 2) the State is understood as a social machine, in its double articulation: social and libidinal. (shrink)

Chaosophy is an introduction to Félix Guattari's groundbreaking theories of "schizo-analysis": a process meant to replace Freudian interpretation with a more pragmatic, experimental, and collective approach rooted in reality. Unlike Freud, who utilized neuroses as his working model, Guattari adopted the model of schizophrenia--which he believed to be an extreme mental state induced by the capitalist system itself, and one that enforces neurosis as a way of maintaining normality. Guattari's post-Marxist vision of capitalism provides a new definition not (...) only of mental illness, but also of the micropolitical means for its subversion. Chaosophy includes such provocative pieces as "Everybody Wants to Be a Fascist," a group of texts on Guattari's collaborative work with Gilles Deleuze, and "How Martians Make Love," a roundtable discussion with Guattari, Lotringer, Catherine Clément, and Serge Leclaire from 1972. This new, expanded edition features a new introduction by François Dosse and a range of additional essays, including "Franco Basaglia: Guerrilla Psychiatrist," "The Transference," "Semiological Subjection, Semiotic Enslavement," "The Place of the Signifier in the Institution," and "Three Billion Perverts on the Stand.". (shrink)

This paper contemplates repression as a factor of production in Anti-Oedipus. Repression is part of the division of labour which defines the composition of the labour–capital relation, what Deleuze and Guattari conceive of as a differential relation. In interpreting Deleuze and Guattari’s concepts of repression, commentaries have elaborated on the influences of Marx’s theories of reification and of the state. However, the influence of Marx’s theory of division of labour in capitalism has not been fully examined. This theory, which (...) involves dispossession of intellectual potentialities and suppression of productive drives, is essential to Deleuze and Guattari’s Spinozist hypothesis that the masses came to desire fascism under a particular set of historical conditions. Through a reading of Capital, guided by Balibar’s reading in particular, and an analysis of schizophrenia in alignment with Foucault’s, Deleuze and Guattari develop a theory of repression as immanent to production. Based in this theory, they conceive of fascism as a line of flight from the limits of capital, emerging among several counteracting factors against the tendency for the rate of profit to fall. In assessing how repression operates in Deleuze and Guattari’s form of psychoanalysis, this paper references Marx’s Capital and Spinoza’s Ethics as well as Balibar’s contribution to the 1965 book Reading Capital and Foucault’s 1962 Mental Illness and Psychology. The paper concludes with remarks on the further development of this theory in Deleuze and Guattari’s 1980 A Thousand Plateaus and Deleuze’s 1990 ‘Postscript on Control Societies’. (shrink)

The “Treatise on Nomadology: The War Machine" is one of the most important and innovative chapters in Gilles Deleuze and Felix Guattari's book, A Thousand Plateaus. It is a highly original text in political philosophy whose implications have yet to be fully mined—or even partially mined, for that matter. This short text analyzes the "noumenal" status that Deleuze assigns to the nomadic war machine, and analyzes the fundamental role that the nomadology plays in Deleuze and Guattari's political philosophy.

Capitalism and Catastrophe questions whether there are processes in advanced capitalism that lead inevitably to systemic collapse. The author challenges those Marxian theories based on a set of historically evolving 'internal contradictions' derived from a purely dialectical analysis of capitalism. In Part I he focuses on the controversy surrounding Rosa Luxemburg's theories of imperialism and capital accumulation, and on Marx's treatment of science and technology in the Grundrisse. In Part I I he critically examines neo- and non-Marxian (...) theories of advanced capitalism, in particular the work of Jurgen Habermas regarding the problem of political legitimation in advanced capitalism. Professor Rousseas argues that Marxists have severely underestimated the resilience of the capitalist system, which must be taken into account by any theory of political economy relevant to the twentieth century. (shrink)

In this article, I present a critical exposition of and engagement with Gilles Deleuze and Felix Guattari’s schizoanalysis, and its therapeutic and revolutionary powers. Firstly, I discuss how the aftermath of the May 1968 phenomenon shapes the formulation of schizoanalysis, specifically, in relation to the French people’s desire for voluntary servitude to what they call as ‘State philosophy.’ More importantly, I discuss desire’s social investment, syntheses, and parallogisms. Secondly, I elucidate schizoanalysis’ goal of achieving freedom from all kinds of Oedipalizations (...) and capitalist exploitations from the family to the society writ large. In this regard, it is schizophrenia which is capable of subverting all forms of oppressions or totalizations fabricated by Oedipus and capitalism. Lastly, I explicate schizoanalysis’ aim, which is to reinstate desire’s revolutionary potentialities toward a revolution fueled by “schizophrenia as a process,” which Deleuze and Guattari call as ‘permanent revolution.’. (shrink)