MediaCommons:1-20 (2019)

Ekin Erkan
Columbia University
Where Deleuze and Guattari introduce us to “lines of flight,” they transcode the mechanics of “flight” through “capture,” fomenting what is understood by many as Deleuze’s philosophical thesis: forging an analog relationship between univocity and difference via multiplicitious immanence. This is, of course, posed against Freud’s molar unities in their second chapter “One or Several Wolves.” Thus, if Heidegger is the philosopher par excellance of queries between hermeneutics and immanence (the philosopher of anti-immanence), it is Deleuze who asks “what is the relationship between immanence and multiplicity?” While, for radical immanence qua Laruelle and post-Laruelleans, Deleuze is confounded with multiplicity (caught in an eternal Prometheun ἰσονομία (isonomia) where there is no victor), for Deleuze multiplicity and difference are two components that can fit together adeptly. Guided by the principle of univocity, Deleuze describes a world of pure multiplicity—all multiplicities are equally immanent within nature. As Whitehead spoke of “occasions,” Deleuze speaks of specific gatherings (of heterogeneous multiplicities), dubbed “assemblages,” that occasion themselves as blips – blips of singularity on an otherwise smooth plane. Following philosopher Levi R. Bryant's account of "dim media," I situate political lines of flight qua psychogeographies vis-a-vis urban topology.
Keywords Deleuze  Guattari  immanence  cinema  Ekin Erkan  Laruelle  Galloway  Levi R. Bryant  Reza Negarestani  Bernard Stiegler
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