Deleuze and Guattari's work opens theoretical and political possibilities for us by demonstrating that the boundary between ‘the West’ and the ‘non-West’ is itself a historically unstable epistemological inscription on the surface of the earth, but one that nevertheless retraces itself over and over again. They show us that our political possibilities exist precisely in the ‘non-West’, so long as we understand this term not in the sense of an existing supposedly ‘non-Western’ territory or ‘substance’, but rather as a ‘line (...) of flight’ beyond the nation-state, the form in which the ‘original division’ and creation of the social relation called ‘the West’ continues to produce itself. They thus demonstrate that the way out of the Eurocentric epistemological order lies precisely in clarifying how ‘the West’ was created as an effect of the capitalist axiomatic and maintained by the repetition of this paradoxical ‘commencement’ in the form of the ‘anthropological difference’, congealed into the modern nation-state. In the pursuit of this moment, we will investigate the question of how the social surface is territorialised and enclosed for capitalist accumulation, how the purely heterogeneous topology of the social comes to be inscribed with the traces of the apparatus of capture. (shrink)

While Deleuze and Guattari's passion for certain literature is well known, the nature of a ‘Deleuzian’ literary criticism remains an open question. However, most critics appear to agree that Deleuze and Guattari's comments on meaning and interpretation offer an ontological alternative to the textual focus of deconstruction. Through an interrogation of the difficult style of their books in relation to Plato, Nietzsche and Derrida, this paper offers a different reading of Deleuze and Guattari in relation to literary criticism. Despite appearances, (...) transcendental empiricism and the project of ‘overturning Platonism’ provide a Deleuzian theory of reading that attends to textuality. (shrink)

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various (...) areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate. (shrink)

Deleuze said that he detested Hegelianism and dialectics: this paper claims that Deleuze is contra Hegel because he has and proposes a different philosophical system. Thus, I suggest that if we want to understand the reason of such a “disgust,” we need to focus the philosophical question that moves the entire Deleuzian system (§ 1). Then, I explain that if the ground-question of Hegel’s philosophy is “how is it possible that things are surpassed, that they go on?”, the Deleuzian one (...) is “how is it that there is always something new, that things come out?” (§ 2). Finally, I discuss how desire can be considered as a key-example for seeing how the perspectives of the two thinkers diverge (§ 3). (shrink)