Guattari: Schizoanalytic Cartographies

Baseado na perspectiva da geofilosofia de Deleuze e Guattari em um processo que se sobrepõe à relação envolvendo sujeito e objeto enquanto fronteira do pensamento e que implica o pensamento como desdobramento de uma violência e as formações genealógicas do saber, o artigo se detém na análise do paradoxal mundo do Instituto Benjamenta (1995) em uma construção fílmica adaptada do romance Jakob von Gunten, de Robert Walser, que encerra um movimento que traz como conteúdo a matéria que se impõe ao (...) caos imanente e converge para o horizonte que abrange Arte, Filosofia e Ciência. Dessa forma, convergindo para a questão que encerra a imagem ortodoxa, dogmática, pré-filosófica, natural e moral do pensamento, o artigo recorre ao filme Instituto Benjamenta (1995) enquanto construção que assinala a intersecção de séries infinitas de imagens de pensamento que escapam ao horizonte da circunscrição da visualidade através de inter-relações ilimitadas que emergem carregadas de complexidade em um processo que defende a superação das imagens dogmáticas do pensamento e da mera exposição do conteúdo do arcabouço histórico do pensamento enquanto objeto que tende à reprodução de ideias e noções e implica a “repetição” de interpretações na relação de ensino e aprendizagem, impedindo o exercício de criação de conceitos, característica da Filosofia, segundo Deleuze, convergindo para a necessidade da instauração de uma experiência capaz de viabilizar a emergência do “novo” através das possibilidades suscitadas no acontecimento da construção do conhecimento. (shrink)

Deleuze never wrote the book on literature he claimed, in the filmed interviews _L’abécédaire de Gilles Deleuze_, he wanted to write. The closest he came was the volume of essays _Critique et clinique_. This chapter sets out to consider the volume in the light of schizoanalysis. The final solo-authored volume addresses the domain professionally inhabited by Guattari – the clinic. If schizoanalysis as a concept can be traced primarily to Guattari’s influence, is _Critique et clinique_ compatible with the earlier outlines (...) of a potential schizoanalysis in _Anti-Oedipus_? What of the relationship between the pre-Guattari _Logic of Sense_ and the post-Guattari _Critique et clinique_? Are either or both of them schizoanalytic? In its investigation of complex series of articulations of the relationship between the schizoanalytical and the critical and clinical project the chapter seeks to explore possible answers to the question: ‘is _Critique et clinique_ schizoanalytic?’. (shrink)

:Masculinity studies recognizes that masculinity is culturally variable, historically specific, multidimensional, and multiple. This mutability is reflected in concepts like hegemonic masculinity, hybrid masculinity, mosaic masculinities, personalized masculinities, sensual masculinity, and inclusive masculinity. Building on this idea of mutating masculinity, this paper addresses a theoretical problem acknowledged by many scholars: how to account for both the singular intimacy of lived experience and the commonality of shared social norms. In order to build a mutable model that encompasses both experience and norms (...) the paper borrows from Félix Guattari's technique of schizoanalytic cartography, which maps assemblages. This new approach to theorizing masculinity is illustrated by diagrams which map its institutional, discursive, cultural, existential, bodily, and biological aspects. (shrink)

O presente artigo objetiva refletir acerca de possíveis inflexões ofertadas pela proposta metodológica amplamente conhecida como Cartografia. Procurando cumprir tal intuito, primeiramente explanaremos minimamente de que se trata a perspectiva cartográfica e em que ela difere de outros modos de fazer pesquisa, baseados, sobretudo, pelo impacto epistemológico conduzido por Deleuze & Guattari – propositores desse conceito – no campo da filosofia e que acaba por respingar no que concerne à produção investigativa na área das Ciências Humanas em geral e especialmente (...) no campo da Educação. Nesse sentido, o conceito de Rizoma proposto pelos autores pode ser útil para entendermos de que se trata tal giro filosófico/epistemológico. Posteriormente, utilizando como motor reflexivo a imagem da intervenção artística “Espiral do Conhecimento” de André Dalmazzo – intervenção esta proposta em uma aula de Metodologia da Pesquisa em Educação – pretendemos inferir algumas noções e estender nossa reflexão acerca de inflexões que pesquisas em educação permeadas por traços metodológicos cartográficos parecem apresentar. Três questões/inflexões foram selecionadas para serem desenvolvidas no texto, a partir do evento citado. São elas: primeiramente o incômodo causado na turma mediante uma situação inusitada, a seguir a questão de que para cada um que se embrenhou no espaço da sala de aula tomada pela intervenção artística “Espiral do Conhecimento” a experiência ocorreu de uma forma, contudo, fazer tal afirmativa não se trata de reduzir os pontos de vista a mero subjetivismo e, finalmente, a questão/inflexão que nos parece cintilar da experiência relatada diz respeito à complexidade do evento de pesquisar e à construção investigativa como uma produção a partir de fragmentos, sobras, vestígios. Desses três apontamentos concluímos que a Cartografia como estratégia metodológica parece criar inflexões de acordo com os terrenos múltiplos que o pesquisador encontra, desdobrando-se por esferas e caminhos que oferecem material para a produção de sentidos e composições diversos. (shrink)

This article reads a selection of films by Todd Haynes - Superstar: The Karen Carpenter Story (1987), Velvet Goldmine (1998) and I'm Not There (2007) - through the post-structuralist lens of Deleuzian theorising about the self as a networked singularity rather than an essential subject. The overall aim of the piece is to consider Haynes' films as artefacts that require the participatory audience to be involved in their making. Gilles Deleuze and Felix Guattari's concept of the schizo is addressed to (...) investigate how a schizo consciousness can be opened by the Event of viewing art that uses incommensurable extremes of meta-textual referentiality. Further to this productive opening, I examine how such post-structuralist ontology can necessitate ethical concern. I conclude that Todd Haynes' film-making is specifically schizoanalytical in that it opens instances wherein the non-essential non-subject can encounter the vertigo of falling away from representation. I contend that this experience and the post-structuralist world view conveyed through it, is radically ethical because it resists the annihilation of possibility that is inherent to essentialism. (shrink)

Schizoanalytic Cartographies represents Félix Guattari's most important later work and the most systematic and detailed account of his theoretical position and his therapeutic ideas. Guattari sets out to provide a complete account of the conditions of 'enunciation' - autonomous speech and self-expression - for subjects in the contemporary world. Over the course of eight closely argued chapters, he presents a breathtakingly new reformulation of the structures of individual and collective subjectivity. Based on research into information theory and new technologies, Guattari (...) articulates a vision of a humanity finally reconciled with its relationship to machines. Schizoanalytic Cartographies is a visionary yet highly concrete work, providing a powerful vantage point on the upheavals of our present epoch, powerfully imagining a future 'post-media' era of technological development. This long overdue translation of this substantial work offers English-speaking readers the opportunity finally to fully assess Guattari's contribution to European thought. (shrink)

This article proffers a critical reading of multiliteracy pedagogy and a materialism of the multimodal and machinic. A critical stance is taken against the mesmerising modes of representation that run rampant across our ocular territories. The article assesses the dangers of fetishizing technologies. To this end, Multiple Literacies Theory (MLT) is read through a Guattarian theoretical prism to emphasise four chief points: (1) the role of the unconscious, (2) the role of affect (affectus in the Spinozian sense; contrary to feeling (...) which immobilises, affect moves us), (3) the apparent becoming cyborg of the human race and (4) the desire to desire repression. The author contends that while qualitative multiplicities play a central role for MLT, it is neither inconsistent nor contradictory to consider the role of the machinic in greater detail. It is argued that more research must be directed into the cartographic, ethological and noological mechanisms at work in plastic universes of reference (new technologies and the arts) which transform the virtual and transfigure the dynamic of affect. (shrink)

How often does an interest or pleasure in your life become something that has to be managed, given a hierarchical position amongst other tasks, and thus becomes a chore alongside other chores? When content and possibility are stripped by scheduling and the demands of capitalist required labour mean that free play or time required for speculative and/or creative thought is removed in the interests of deadlines, what happens to the compassionate, generous and intimate functioning of thought and life? This paper (...) considers how Guattari argues that subjectivities are produced and organised by what he describes as machinic assemblages. Machinic assemblages are those aspects of life that operate to regulate the affective powers of life. Guattari's work on activities such as art making, game play, music and performance provides ways to consider the labour of subjectivity outside of work. I ask the reader to consider what the notion and motivation for play signal. Arguing that a singular life at play is the collective event of play, I describe play as a mediatising form for the production of subjectivity. The play field situates and directs the machinic assemblage of subjectivation through its own forms of mediatisation. (shrink)

During the first revolts of 1905, the soldiers, as Lenin noted with a certain perplexity, surrendered and the revolution thus failed fail, although there was nothing which stood as an obstacle to them anymore. The situation calls for a reexamination of the question of power and exploitation in relation to sexuality, and of the conventional reading which argues that the sailors are urged by an uncontrollable unconscious guilt to desire a punishment through the superego. The present article seeks to invert (...) Lenin’s question, from an analytic point of view: what is this force which brutally causes burglary and forces the sailors to rebel? How are we to analyse this desire for revolt, which causes them to break out of their dominated condition, till they become, for a while, “revolutionary subjects”? A psychoanalysis of “Battleship Potemkin” permits us to re-examine the question of alienation and the problematic relation between unconscious desire, revolution and subjection. Far removed from the ideological influence which has dominated mainstream psychoanalysis, the investigation which Reich initiated, and which Deleuze and Guattari continued, enables us to interrogate the unconscious and its articulation to politics, up to the final period of Lacan. (shrink)

Introduction: contemporary conditions and diagrammatic trajectory -- From joy to the gap: the accessing of the infinite by the finite (Spinoza, Nietzsche, Bergson) -- The care of the self versus the ethics of desire: two diagrams of the production of subjectivity (and of the subject's relation to truth) (Foucault versus Lacan) -- The aesthetic paradigm: from the folding of the finite-infinite relation to schizoanalytic metamodelisation (to biopolitics) (Guattari) -- The strange temporality of the subject: life in-between the infinite and the (...) finite (Deleuze contra Badiou) -- Desiring-machines, chaoids, probeheads: towards a speculative production of subjectivity (Deleuze and Guattari) -- Conclusion: composite diagram and relations of adjacency. (shrink)

The mass popular dissent which has marked the early twenty-first century, from al-Qaeda to the Arab Spring to the Occupy movement, can be read as expressions of collective, subjective, existential mutation. This reading is inspired by Félix Guattari, who described the 1979 Iranian revolution, the Polish Solidarity movement and the 1989 Chinese student demonstrations as demands for subjective singularisation. In each of these examples of social discontent, past and present, demands vary widely even within the same movement, spanning economics, lifestyle, (...) religion and politics, and ranging from cries for liberation to conservative returns to ancient tradition. In order to perform a schizoanalysis of such amorphous movements, Guattari developed a four-part ecosophic object, composed of existential Territories, Universes of value, material-energetic Flows and machinic Phyla. Assemblages can be dynamically mapped along these four dimensions. Of crucial importance in the age of extreme deterritorialisation is the existential Territory, which could potentially take the form of a homeland based on poetry or music rather than on ethnicity or even place. Such portable homelands would characterise the dissensual processual post-media era for which Guattari longed. (shrink)

If a machine is something that cuts into a continuous flow, schizoanalysis can be read, quite literally, as an analysis of cuts. In cinematic registers, it is an analysis of montage. Looking closely at a number of modes and moments of montage in the work of Alfred Hitchcock, this paper shows how his strategies of ‘reciprocally presupposing’ actual image and virtual montage relate to a Deleuzian poetics and politics of the cinema.

Taking a schizoanalytic approach to audio-visual images, this article explores some of the radical potentia for deterritorialisation found within David Fincher's Fight Club (1999). The film's potential for deterritorialisation is initially located in an exploration of the film's form and content, which appear designed to interrogate and transcend a series of false binaries between mind and body, inside and outside, male and female. Paying attention to the construction of photorealistic digital spaces and composited images, we examine the actual (and possible) (...) ways viewers relate to the film, both during and after screenings. Recognising the film as an affective force performing within our world, we also investigate some of the real-world effects the film catalysed. Finally, we propose that schizoanalysis, when applied to a Hollywood film, suggests that Deleuze underestimated the deterritorialising potential of contemporary, special effects-driven cinema. If schizoanalysis has thus been reterritorialised by mainstream products, we argue that new, ‘post-Deleuzian’ lines of flight are required to disrupt this ‘de-re-territorialisation’. (shrink)

This paper explores how Deleuze and Guattari's philosophical concepts extend and elaborate discursive and psychoanalytic interpretations of qualitative research findings. Analyzing data from a UK research project exploring young people's engagements with Social Networking Sites (SNSs), Deleuze and Guattari's schizoanalytic method is drawn upon to consider complex desire-flows in the social. In particular the notion of ‘affective assemblages’ is developed to explore the relationships between school and online spaces and subjective interfacing with these spaces. The paper suggests online space is (...) heterosexually striated and SNSs create new intensified gendered and sexualized identities and affective relations between young people. Investigating the case study of a teen girl, Louise, who is socially rejected through the affective assemblage of the SNS, then pathologized at school for violently retaliating against being called a ‘fat slag’ online, the paper suggests a Deleuzoguattarian analysis offers new theoretical tools for thinking about discursive subjectification but also for mapping complex desire-flows and micro movements through and against discursive/symbolic norms. (shrink)

This article follows Deleuze in investigating the ways in which the symptom as a form of representation can be collapsed into immanence. Exploring the symptoms of schizophrenia and autism, it examines what implications such a collapse may have for the production of the symptom in its double articulation as representation and immanent production. The argument follows Deleuze and Guattari in asserting that symptoms hold an implicit limit for the social forms that deploy them. Arguing that schizophrenia, as one such limit, (...) has been successfully appropriated and deferred by postmodern capitalism, it is proposed that the proliferating symptom cluster of autism may indicate a new form of limit and that ‘‘becoming autistic’’ thus may have potential as revolutionary practice. (shrink)

This text reads into the work of Ibrahim Nubani (1962—), a Palestinian-Israeli painter who was diagnosed with schizophrenia in 1988, during the first Intifada. Nubani’s painting has undergone a tremendous change from the 1980s and the period of his hospitalization to his painting style today: from geometric, Modernist-type painting, gradually moving into his contemporary chaotic and saturated style of expression. I draw parallels between Nubani’s personal and psychological condition and the political events that affected him. I refer to his state (...) in relation to the discourse of mimicry and camouflage in nature, comparing his position to that of the invisible presences in the background in a perfect camouflage, referring to Roger Caillois’ interpretations. I look at his diagnosed psychiatric state of schizophrenia as the materialization of the meaning of being a Palestinian-Israeli in a life of fragmentation and rejection, by referring to Bhabha and Shammas. I relate to Deleuze and Guattari’s notions of schizophrenia as a cultural rebellion against the moderating mechanisms of cultural/national identification. I demonstrate how Nubani’s work and speech undermine the modalities of mainstream Israeli society, acting like a cultural insurgent, terrorizing Zionist axioms. While analysing Nubani’s iconography I identify several tropes, images and icons that serve as signifiers of his personal crisis and artistic development. I link Nubani’s eyes/ocelli images to Lacan’s discussion of ‘symbolic castration’ as the core of his personal becoming part of Israeli society and his collapse, the in-between desire to assimilate in the early stages of his life, and his current desire to fully live his life as a Palestinian. The text moves between his images and images from other sources that open Nubani’s world into the discourses of Western painting, schizophrenia, high Modernism, the postcolonial condition and so forth. The text is fragmented into eight pieces, following the schizophrenic break-up of Nubani’s personal state and his painted work. I read his work as a destabilizing agent, and identify visual references drawn from the wider context of art history, and specifically referring to masterpieces of the Israeli art canon. (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)

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)

This article offers two commentaries on two of Félix Guattari's essays from Chaosmosis: ‘The New Aesthetic Paradigm’ and ‘Schizoanalytic Metamodelisation’. The first commentary attends specifically to how Guattari figures the infinite/finite relation in relation to what he calls the three Assemblages (pre-, extant, and post-capitalism) and then even more specifically to the mechanics of this relation – or folding – within the third ‘processual’ Assemblage or new aesthetic paradigm of the essay's title. The second commentary looks at what Guattari has (...) to say about this paradigm in relation to subjectivity, that is, the schizoanalytic programme or practice of metamodelling. Here the focus is on the turn to asignifying semiotics – but also the importance of signifying material and indeed the actual material scene of encounter – in any programme for the production of subjectivity (it is here also that the symptom makes its appearance). (shrink)

The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of 'becoming cyborg' in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies of Felix Guattari's (...) schizoanalytic practice in the 1950s and 1960s and, before him, the Francophone educationalist Celestin Freinet, who founded the Modern School Movement, are explored and used to illuminate examples of some of our own attempts to set the classroom up as a space for collective engagement. We conclude by exploring how this understanding of the class as subject group may be used to mobilise action and de-stabilise the coordinates of existing academic divisions of labour. (shrink)

The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of ‘becoming cyborg’ in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies of Felix Guattari's (...) schizoanalytic practice in the 1950s and 1960s and, before him, the Francophone educationalist Celestin Freinet, who founded the Modern School Movement, are explored and used to illuminate examples of some of our own attempts to set the classroom up as a space for collective engagement. We conclude by exploring how this understanding of the class as subject group may be used to mobilise action and de‐stabilise the coordinates of existing academic divisions of labour. (shrink)

Lacan himself ends up missing the opportunity to relate his notion of the objet petit a to Marxist ideas about production, reproduction and consumption in political economy, and therefore scotomises the possible forms of « social enunciation » that could act as vehicles for political agency precisely during periods of technological revolution. Industrial capitalism, once set in motion, generates deterritorialised subjects, and through the very process of constant de-skilling and re-skilling, engenders new, in principle universal, machinic forms of subjectivity. Lacan (...) had discovered the mechanism, but had not yet unfolded its historical conditions and political implications. Guattari suggests that the entire direction of social institutions has been radically transformed as a result of the capitalist expropriation of the results of the industrial revolution. (shrink)

Under the pretext of being « anti-Oedipal », Guattari has been portrayed as an enemy of psychoanalysis. His project, however, is antinomical to this reputation. Rather than polemics and denunciation, he delighted in invention and promotion of new ideas. His work and his activism attempted to give its full scope to the Freudian invention of an unconscious desire : he tried to unfold its implication in the therapeutic field, in philosophical thinking and in revolutionary action.

Guattari has progressively designed a set of tools capable of helping everyone escape from capitalist injunctions, finding support in affects, in participative action, in cultural universals and in the flows freed by the human adventure on the surface of the planet. The subject, distanced from the powerlessness generated by a central ego, develops her reflection and agency in infinitely diverse situations. He drew such tools, first, from institutional psychotherapy and psycho-sociology, later, from a form of semiotics not limited by the (...) collapse of the « loci of speech », which finally led him to invent schizo-analytic mappings and to prepare the ground for « ecosophy ». (shrink)

Guattari is not the only thinker of the post-WWII generation who treated « the subject » as the result of a social process of production : Lacan and Althusser, Deleuze and Foucault were heading in the same direction. Guattari, however, tends to dissolve any individualistic conception of the subject along a political and analytical axis which is not reducible to Lacan’s positions, from whom he clearly distances himself, nor to Deleuze’s, with whom he elaborates a collective work full of friendship (...) and generosity. As a matter of fact, Guattari opens a new and singular field of problematization, with fresh conceptual operators drawn from Marx and Sartre as well as Lacan. (shrink)

What is the imaginary of finance ? How did it separate off from any social functionality, to become the dominant institution of contemporary capitalism ? This article examines two performances. The first is by the Australian artist Michael Goldberg : installed for three weeks at a Sydney gallery, he speculated artistically on derivatives of News Corp., the media empire of Richard Murdoch. The second is a project by the ephemera collective, who work on « theory & politics in organization ». (...) Having identified the « arbitrary power » of finance capitalism, some forty participants attempted the creation of another imaginary, through a conference and art event on the rails of the trans-Siberian train. The article borrows from the Lacanian sociology of Karin Knorr Cetina to decribe the « post-social relation » between traders and the « unfolding objects » that coalesce into form on their screens. It then calls upon Félix Guattari’s Schizoanalytic Cartographies to find out how the material and discursive elements of an externalized imaginary can be recombined to form the multiply facetted unfolding mirror where a subjectivty in movement can be reflected. (shrink)

Not man as the king of creation, but rather as the being who is in intimate contact with the profound life of all forms or all types of beings, who is responsible for even the stars and animal life, and who ceaselessly plugs an organ-machine into an energy-machine, a tree into his body, a breast into his mouth, the sun into his asshole: the eternal custodian of the machines of the universe. Deleuze and Guattari, Anti-Oedipus 4.

This article attempts to chart a course beyond the 'impasse of the political' in Derridean deconstruction that avoids both the ontologization of ethics in Levinas and the recourse to morality in Habermasian discourse ethics. Instead, it presents an account of the decision in a terrain of undecidability through the concept of affinity. This mode of ethico-political activity, when combined with Foucault's analytics of power and Deleuze and Guattari's schizoanalysis, provides the outlines of a project of radical social transformation that could (...) achieve greater nuance with regard to 'actually existing' democracy and justice than has so far been achieved within deconstructive political theory. At the level of social structure, such a project is commensurate with a move away from subject positions associated with the system of liberal-capitalist nation-states, in favour of identifications produced by a locus of 'coming' communities. Key Words: affinity • Critchley • deconstruction • Deleuze and Guattari • Derrida • ethics • Foucault • Laclau and Mouffe • politics. (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)

Table of Contents. Introduction: Five Theses of Actually Existing Schizoanalysis of Cinema, Ian Buchanan (Cardiff University, UK) 1. Schizoanalysis and the Phenomenology of Cinema, Joe Hughes (University of Edinburgh, UK) 2. Schizoanalysis and the Cinema of the Brain, Gregg Lambert (Syracuse University, USA) 3. Losing Face, Gregory Flaxman (University of North Carolina, USA) and Elena Oxman (University of North Carolina, USA) 4. Disorientation, Duration and Tarkovsky, Mark Riley (Roehampton University, UK) 5. Suspended Gestures: Schizoanalysis, Affect and the Face in Cinema, (...) Amy Herzog (CUNY, USA) 6. Schizoanalysis, Spectacle and the Spaghetti Western, David Martin-Jones (University of St Andrews, UK) 7. Cinemas of Minor Frenchness, Bill Marshall (University of Glasgow, UK) 8. Delirium Cinema or Machines of the Invisible?, Patricia Pisters (University of Amsterdam, The Netherlands) 9. Off Your Face: Schizoanalysis, Faciality and Cinema, Anna Powell (Manchester Metropolitan University, UK) 10. An Ethics of Spectatorship: Love, Death and Cinema, Patricia MacCormack (Anglia Ruskin University, UK). (shrink)

What can philosophy bring to the reading of Beckett? Combining intertextual analysis with a ‘schizoanalytic genealogy’ derived from the authors of L’Anti-Œdipe, Garin Dowd’sMachines: Samuel Beckett and Philosophy after Deleuze and Guattari offers an innovative response to this much debated question. The author focuses on zones of encounter and thresholds of engagement between Beckett’s writing and a range of philosophers and philosophical concepts. Beckett’s writing impacts in a variety of ways on Deleuze and Guattari’s thought, and, in particular, resonates with (...) Deleuze’s contributions to the history of philosophy, and his ‘critical and clinical’ approach to literature. Furthermore, the books co-written with Guattari, concerned as they are with the ‘molecularization’ of the discipline of philosophy in the name of ‘thinking otherwise’, reveal themselves in a new light when explored in conjunction with Beckett’s œuvre. With its arresting perspectives on a wide range of Beckett’s works, Abstract Machines will appeal to academics and postgraduate students interested in the philosophical aspects of his writing. Its engagement with alternative contributions to the question of Beckett and philosophy, including that of Alain Badiou, renders it a timely and provocative intervention in contemporary debates on the relationship between literature and philosophy, both within the field of Beckett studies and beyond. (shrink)