This book offers a detailed look at Guattari's working methods in transdisciplinary experimentation from the time of his youth to his final years.His youthful adventures in the post-war Youth Hostels movement, decisive contact with institutional pedgagogy and the mentor figures of Fernand Oury and his brother Jean, give rise to an extraordinary penchant for organizational innovation in his life at Clinique de La Borde in Cour-Cheverny, France, and collective forms of expression manifested in publishing ventures and diverse collaborative research formations.Guattari's (...) highly original and hitherto neglected theories of a-signifyng semiotics and minor cinema are explored in depth with reference to the political goals of the critique of infoculture and the molecular revolutionary tendencies that are released in the search for a people to come.Guttari's engagement with eco-politics and art practices displays his originality as a political thinker and is firmly grounded on his exporation of how subjectivity is produced inlate capitalism.Guattari's ground-breaking conception of transversal politics is fully explored in relation to Michel Foucault's sense of the concept and its role in global political theory. (shrink)

Focusing on the logistics of perception, this title introduces the author's understanding of 'picnolepsy' - the epileptic state of consciousness produced by speed, or rather, the consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it.

Through the philosophies of Bergson and Deleuze, my paper explores a different theory of time. I reconstitute Deleuze’s paradoxes of the past in Difference and Repetition and Bergsonism to reveal a theory of time in which the relation between past and present is one of coexistence rather than succession. The theory of memory implied here is a non-representational one. To elaborate this theory, I ask: what is the role of the “virtual image” in Bergson’s Matter and Memory? Far from representing (...) the simple afterimage of a present perception, the “virtual image” carries multiple senses. Contracting the immediate past for the present, or expanding virtually to hold the whole of memory (and even the whole of the universe), the virtual image can form a bridge between the present and the non-representational past. This non-representational account of memory sheds light not only on the structure of time for Bergson, but also on his concepts of pure memory and virtuality. The rereading of memory also opens the way for Bergsonian intuition to play an intersubjective role; intuition becomes a means for navigating the resonances and dissonances that can be felt between different rhythms of becoming or planes of memory, which constitute different subjects. (shrink)

This article charts differences between Gilles Deleuze's and Gaston Bachelard's philosophies of science in order to reflect on different readings of the role of science in Deleuze's philosophy, in particular in relation to Manuel DeLanda's interpretation of Deleuze's work. The questions considered are: Why do Gilles Deleuze and Gaston Bachelard develop radically different philosophical dialectics in relation to science? What is the significance of this difference for current approaches to Deleuze and science, most notably as developed by Manuel DeLanda? It (...) is argued that, despite its great explanatory power, DeLanda's association of Deleuze with a particular set of contemporary scientific theories does not allow for the ontological openness and for the metaphysical sources of Deleuze's work. The argument turns on whether terms such as ‘intensity’ can be given predominantly scientific definitions or whether metaphysical definitions are more consistent with a sceptical relation of philosophy to contemporary science. (shrink)

When writing about cinema does Deleuze have a conception of cinema spectatorship? In New Philosophy for New Media, Mark Hansen argues that Deleuze does have a conception of cinema spectatorship but that the subjectivity central to that spectatorship is weak and impoverished. This article argues against Hansen's reductive interpretation of Deleuze. In doing so, it relies on the three syntheses of time developed in Difference and Repetition alongside an elaboration of Deleuze's notion of a ‘cinematographic Cogito’. In this way, the (...) article offers a way of understanding the processes of cinema spectatorship from a Deleuzian perspective. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...) : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

Deleuze and the Unconscious shows how these tendencies combine in Deleuze's work to engender a wholly new approach to the unconscious, for which active relations to the unconscious are just as important as the better known pathologies of ...