Stemming from a general study of rhythm in the work of Gilles Deleuze, we propose a distribution of this concept throughout three levels: a topic level, in which we place rhythm between chaos and measure; a dynamic level, in which we analyse the formation of rhythm towards its stabilisation as a spatio-temporal dynamism; and an unfolding, in which these dynamisms take on the form of rhythmic machines applied in music (refrain), in painting (sensation) and in cinema (montage and time crystals). (...) In this last phase, the rhythmic devices of various arts lead to a genesis of time. We are thus driven to think and elaborate on the link between these two concepts, rhythm and time, in the writings of Deleuze. Bearing this purpose in mind, we turn to the schema of the three syntheses of time in Difference and Repetition. These syntheses show how time emerges from different ways of understanding repetition, in the place of which rhythm will then appear. We will compare this schema with the argument articulated by Deleuze in Logic of Sensation regarding rhythm in its pictorial form. This comparison will enable us to deduce that both concepts follow a parallel path arising from the same series of processes: vibration, coupling, resonance and forced movement. We will conclude that the schema proposed in Difference and Repetition and its aesthetic purpose delineate the ways in which rhythms unfold creatively. These three syntheses of rhythm are implicated in artistic processes. (shrink)

This article analyses some of the governmental issues at stake in contemporary institutional politics in its confrontation with the challenges of digitalisation. Through notions such as algorithmic governmentality (Rouvroy and Berns), platformisation (Bratton, Stiegler), extractivism, and the affect theory (Massumi), and following a symptomatologic method, we will try to establish and discuss some key points that could be useful in order to update certain concepts regarding micro- and biopolitics (Deleuze and Guattari, Foucault), the public sphere, and the management of social (...) and individual bodies. Finally, we will try to understand how the manipulation of affects via the staging of possible catastrophic futures (Parisi) is used as a powerful neurosensory weapon, with performative effects for governing and modelling behaviours. If contemporary capitalism is capable of abstracting and extracting affects, of accumulating them and of creating value through this, which policies should we apply in this situation of uncertainty and of the manipulation of affectivity? Is there any place left for public institutions, or is the market the sole political actor left? (shrink)

The aim of this paper is to problematise the idea of Deleuze as an anarchic thinker on the ground of his metaphysics. Focusing on his early work, it investigates the notion of ‘crowned anarchy’ that Deleuze borrows from Antonin Artaud and which he uses to describe his conceptualisation of the univocity of being. While this notion has recently been used as a catchphrase in post-anarchist writings, it has received little to no critical investigation. The first section of the paper investigates (...) the relation between ontological anarchy and difference for Deleuze. The second part aims to show the problems surrounding a coronation of anarchy, and goes back to Artaud’s Heliogabalus, or The Anarchist Crowned (1934). The third section problematises the anarchist status of Deleuze’s ontology by arguing that the idea of difference serves as the principle of sufficient reason. With this, I argue that Deleuze does not leave the archic paradigm of philosophy – which should make us reconsider describing his ontology as anarchist. The final part concludes with the underlying problem, the relation between metaphysics and politics, and offers a suggestion for the useability of Deleuze’s (and Guattari’s) work for the projects of anarchism today. (shrink)

One of Guattari's most important conceptual contributions is his notion of transversality. This complex notion responds to the very concrete problem that, when we oppose certain power formations, we tend to reproduce these same power formations. This article proposes an examination of Guattari's concept of transversality through five of its aspects, which will be related to the various problematics they respond to. The aim is to show how power formations operate and how transversality responds to them, and also to highlight (...) the primordial importance of practical and political issues to Guattari's conceptual work. As we will see, Guattari conceived of transversality in relation to the Leninist cut; it thus is linked to democratic centralism and to the subject-group. Transversality is also linked to enunciation and autopoiesis; it is characterised by Guattari as transmonadic and transitive. The notion of transversality will also be put in relation to the war machine, on which it will thus shed light. (shrink)

Deleuze’s philosophy is permeated with the problem of the continuum. The idea that the coexistence of durations is implied in the concept of duration itself allows Deleuze to offer a fresh perspective on multiplicity, which is distinct from Bergson’s approach, and which proposes new perspectives on the continuum. While Deleuze critiques Leibniz’s view on this concept by highlighting the non-uniform nature of the continuum, the infinitesimal still plays a significant role in his analysis. However, in his late reading of Leibniz, (...) Deleuze emphasises that folds, rather than infinitesimals, should be considered as the smallest components of the continuum’s labyrinth. This implies that there is a union of indiscernible cuts in the continuity, cuts that do not create gaps or breaks in the overall coherence, but rather a labyrinth. I will show how, in exploring this problem, Deleuze and Guattari draw inspiration from Kafka, in order to relate continuity to contiguity. This relation reveals an internal difference that defines the distinction between what is continuous and what is contiguous. This, in our view, marks a considerable shift between Deleuze’s early reading of Bergson and his late reading of Leibniz, and it allows Deleuze to further develop his idea of the continuum. (shrink)

For Deleuze, the creation and conveyance of meaning requires not a strict fidelity to an original idea, message or image but rather its deformation. The forces causing such disfigurations operate in gesture, vocalisation and text, with one level sometimes disrupting the others. Among them, gesture plays an especially important role, given Deleuze’s attention to bodily experience. He locates it in theatre, painting and cinema, particularly in the works of Carmelo Bene, Francis Bacon and Jerry Lewis. In these cases, instead of (...) conveying a recognisable message, a deformative gesture sends a shock wave that scrambles normal meaning assignments and codings. Yet, although gesture is a main channel for these communication disruptive forces, their origin may lie elsewhere, namely, in a ‘pick-up’ of influences resulting from an inter-affective encounter between heterogeneous bodies. (shrink)