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Félix Guattari was a French political militant, practicing psychoanalyst and international public intellectual. He is best known for his work with the philosopher Gilles Deleuze on the two-volume Capitalism and Schizophrenia, one of the most influential works of post-structuralism. From the mid-1950s onward, Guattari exerted a profound yet often behind-the-scenes influence on institutional psychotherapy, psychoanalysis, radical politics and philosophy. Guattari's Diagrammtic Thought examines the writings that Guattari authored on his own, both before and during his collaboration with Deleuze, providing a startlingly fresh perspective on intellectual and political trends in France and beyond during the second half of the twentieth century. Janell Watson acknowledges the historical and biographical aspect of Guattari's writing and explores the relevance of his theoretical ideas to topics as diverse as the May 1968 student movement, Lacanian psychoanalysis, neo-liberalism, ethnic identity, microbiology, quantum mechanics, chaos theory, ecology, the mass media, and the subjective dimensions of information technology. The book demonstrates that Guattari's unique thought process yields a markedly Guattarian version of many seemingly familiar Deleuzean notions.
An examination of Deleuze's notion of the diagram from philosophical and aesthetic perspectives that develops the concept into a critical touchstone for contemporary multidisciplinary art.
‘A rare and remarkable book.' Times Literary Supplement Gilles Deleuze (1925-1995) was Professor of Philosophy at the University of Paris VIII. He is a key figure in poststructuralism, and one of the most influential philosophers of the twentieth century. Félix Guattari (1930-1992) was a psychoanalyst at the la Borde Clinic, as well as being a major social theorist and radical activist. A Thousand Plateaus is part of Deleuze and Guattari's landmark philosophical project, Capitalism and Schizophrenia - a project that still sets the terms of contemporary philosophical debate. A Thousand Plateaus provides a compelling analysis of social phenomena and offers fresh alternatives for thinking about philosophy and culture. Its radical perspective provides a toolbox for ‘nomadic thought' and has had a galvanizing influence on today's anti-capitalist movement. Translated by Brian Massumi>
The first English translation of a crucial work of twentieth-century French philosophy, in which Felix Guattari presents the most detailed account of his theoretical position.
Understanding Deleuze, Understanding Modernism explores the multi-faceted and formative impact of Gilles Deleuze on the development and our understanding of modernist thought in its philosophical, literary, and more broadly cultural manifestations. Gilles Deleuze himself rethought philosophical history with a series of books and essays on individual philosophers such as Kant, Spinoza, Leibniz, Nietzsche, and Bergson and authors such as Proust, Kafka, Beckett and Woolf, on the one hand, and Bacon, Messiaen, and Pollock, among others, in other arts. This volume acknowledges Deleuze's profound impact on a century of art and thought and the origin of that impact in his own understanding of modernism. Understanding Deleuze, Understanding Modernism begins by "conceptualizing" Deleuze by offering close readings of some of his most important works. The contributors offer new readings that illuminate the context of Deleuze's work, either by reading one of Deleuze's texts against or in the context of his entire body of work or by challenging Deleuze's readings of other philosophers. A central section on Deleuze and his aesthetics maps the relationships between Deleuze's thought and modernist literature. The volume's final section features an extended glossary of Deleuze's key terms, with each definition having its own expert contributor.
Deleuze, Bergson, Merleau-Ponty: The Logic and Pragmatics of Creation, Affective Life, and Perception offers the only full-length examination of the relationships between Deleuze, Bergson and Merleau-Ponty. Henri Bergson (1859–1941), Maurice Merleau-Ponty (1908-1961), and Gilles Deleuze (1925–1995) succeeded one another as leading voices in French philosophy over a span of 136 years. Their relationship to one another's work involved far more than their overlapping lifetimes. Bergson became both the source of philosophical insight and a focus of criticism for Merleau-Ponty and Deleuze. Deleuze criticized Merleau-Ponty's phenomenology as well as his interest in cognitive and natural science. Author Dorothea Olkowski points out that each of these philosophers situated their thought in relation to their understandings of crucial developments and theories taken up in the history and philosophy of science, and this has been difficult for Continental philosophy to grasp. She articulates the differences between these philosophers with respect to their disparate approaches to the physical sciences and with how their views of science function in relation to their larger philosophical projects. In Deleuze, Bergson, Merleau-Ponty, Olkowski examines the critical areas of the structure of time and memory, the structure of consciousness, and the question of humans' relation to nature. She reveals that these philosophers are working from inside one another's ideas and are making strong claims about time, consciousness, reality, and their effects on humanity that converge and diverge. The result is a clearer picture of the intertwined workings of Continental philosophy and its fundamental engagement with the sciences.
Hanjo Berressem establishes the notion of a schizoanalytic ecology as the most consistent conceptual spine of Félix Guattari's work. He covers the whole range of Guattari's solo work and the books co-authored with Gilles Deleuze, primarily a rigorous explication and analysis of 'Schizoanalytic Cartographies'.
The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, “assemblage” is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages focuses on the concept’s uses, transpositions, and appropriations in the arts, bringing together the voices of artists and philosophers that have been working on and with this topic for many years with those of emerging scholar-practitioners. The volume embraces exciting new and reconceived artistic practices that discuss and challenge existing assemblages, propose new practices within given assemblages, and seek to invent totally unprecedented assemblages.
Gregg Lambert demonstrates that since the publication of Proust and Signs in 1964 Gilles Deleuze's search for a new means of philosophical expression became a central theme of all of his oeuvre, including those written with psychoanalyst Félix Guattari. Lambert, like Deleuze, calls this "the image of thought." Lambert's exploration begins with Deleuze's earliest exposition of the Proustian image of thought and then follows the "tangled history" of the image that runs through subsequent works, such as Kafka: Toward a Minor Literature, The Rhizome (which serves as an introduction to Deleuze's A Thousand Plateaus), and several later writings from the 1980s collected in Essays Critical and Clinical. Lambert shows how this topic underlies Deleuze's studies of modern cinema, where the image of thought is predominant in the analysis of the cinematic image--particularly in The Time-Image. Lambert finds it to be the fundamental concern of the brain proposed by Deleuze in the conclusion of What Is Philosophy? By connecting the various appearances of the image of thought that permeate Deleuze's entire corpus, Lambert reveals how thinking first assumes an image, how the images of thought become identified with the problem of expression early in the works, and how this issue turns into a primary motive for the more experimental works of philosophy written with Guattari. The study traces a distinctly modern relationship between philosophy and non-philosophy (literature and cinema especially) that has developed into a hallmark of the term "Deleuzian." However, Lambert argues, this aspect of the philosopher's vision has not been fully appreciated in terms of its significance for philosophy: "not only 'for today' but, to quote Nietzsche, meaning also 'for tomorrow, and for the day after tomorrow.'"