Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

A User's Guide to Capitalism and Schizophrenia is a playful and emphatically practical elaboration of the major collaborative work of the French philosophers Gilles Deleuze and Felix Guattari. When read along with its rigorous textual notes, the book also becomes the richest scholarly treatment of Deleuze's entire philosophical oeuvre available in any language. Finally, the dozens of explicit examples that Brian Massumi furnishes from contemporary artistic, scientific, and popular urban culture make the book an important, perhaps even central text within (...) current debates on postmodern culture and politics.Capitalism and Schizophrenia is the general title for two books published a decade apart. The first, Anti-Oedipus, was a reaction to the events of May/June 1968; it is a critique of "state-happy" Marxism and "school-building" strains of psychoanalysis. The second, A Thousand Plateaus, is an attempt at a positive statement of the sort of nomad philosophy Deleuze and Guattari propose as an alternative to state philosophy.Brian Massumi is Professor of Comparative Literature at McGill University. (shrink)

Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.

In _What Animals Teach Us about Politics_, Brian Massumi takes up the question of "the animal." By treating the human as animal, he develops a concept of an animal politics. His is not a human politics of the animal, but an integrally animal politics, freed from connotations of the "primitive" state of nature and the accompanying presuppositions about instinct permeating modern thought. Massumi integrates notions marginalized by the dominant currents in evolutionary biology, animal behavior, and philosophy—notions such as play, sympathy, (...) and creativity—into the concept of nature. As he does so, his inquiry necessarily expands, encompassing not only animal behavior but also animal thought and its distance from, or proximity to, those capacities over which human animals claim a monopoly: language and reflexive consciousness. For Massumi, humans and animals exist on a continuum. Understanding that continuum, while accounting for difference, requires a new logic of "mutual inclusion." Massumi finds the conceptual resources for this logic in the work of thinkers including Gregory Bateson, Henri Bergson, Gilbert Simondon, and Raymond Ruyer. This concise book intervenes in Deleuze studies, posthumanism, and animal studies, as well as areas of study as wide-ranging as affect theory, aesthetics, embodied cognition, political theory, process philosophy, the theory of play, and the thought of Alfred North Whitehead. (shrink)

Color coded terror alerts, invasion, drone war, rampant surveillance: all manifestations of the type of new power Brian Massumi theorizes in _Ontopower_. Through an in-depth examination of the War on Terror and the culture of crisis, Massumi identifies the emergence of preemption, which he characterizes as the operative logic of our time. Security threats, regardless of the existence of credible intelligence, are now felt into reality. Whereas nations once waited for a clear and present danger to emerge before using force, (...) a threat's felt reality now demands launching a preemptive strike. Power refocuses on what _may_ emerge, as that potential presents itself to feeling. This affective logic of potential washes back from the war front to become the dominant mode of power on the home front as well. This is ontopower—the mode of power embodying the logic of preemption across the full spectrum of force, from the “hard” to the "soft". With _Ontopower_, Massumi provides an original theory of power that explains not only current practices of war but the culture of insecurity permeating our contemporary neoliberal condition. (shrink)

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In _Semblance and Event_, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question. It is, he argues, a question of abstraction, not as the opposite of the concrete (...) but as a dimension of it: "lived abstraction." A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented -- variously known as interactive art, ephemeral art, performance art, art intervention -- which he refers to collectively as the "occurrent arts." Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension. (shrink)

A Shock to Thought brings together essays that explore Deleuze and Guattari's philosophy of expression in a number of contemporary contexts. It will be of interest to all those in philosophy, cultural studies and art theory. The volume also contains an interview with Guattari which clearly restates the 'aesthetic paradigm' that organizes both his and Deleuze's work.

In _Couplets_, Brian Massumi presents twenty-four essays that represent the full spectrum of his work during the past thirty years. Conceived as a companion volume to _Parables for the Virtual_, _Couplets_ addresses the key concepts of _Parables_ from different angles and contextualizes them, allowing their stakes to be more fully felt. Rather than organizing the essays chronologically or by topic, Massumi pairs them into couplets to encourage readers to make connections across conventional subject matter categories, to encounter disjunctions, and to (...) link different phases in the evolution of his work. In his analyses of topics ranging from art, affect, and architecture to media theory, political theory, and the philosophy of experience, Massumi charts a field on which a family of conceptual problems plays out in ways that bear on the potentials for acting and perceiving the world. As an essential guide to Massumi's oeuvre, _Couplets_ is both a primer for his new readers and a supplemental resource for those already engaged with his thought. (shrink)

Rational self-interest is often seen as being at the heart of liberal economic theory. In _The Power at the End of the Economy_ Brian Massumi provides an alternative explanation, arguing that neoliberalism is grounded in complex interactions between the rational and the emotional. Offering a new theory of political economy that refuses the liberal prioritization of individual choice, Massumi emphasizes the means through which an individual’s affective tendencies resonate with those of others on infra-individual and transindividual levels. This nonconscious dimension (...) of social and political events plays out in ways that defy the traditional equation between affect and the irrational. Massumi uses the Arab Spring and the Occupy Movement as examples to show how transformative action that exceeds self-interest takes place. Drawing from David Hume, Michel Foucault, Gilles Deleuze, Niklas Luhmann and the field of nonconsciousness studies, Massumi urges a rethinking of the relationship between rational choice and affect, arguing for a reassessment of the role of sympathy in political and economic affairs. (shrink)

Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.

The figure of today’s threat is the suddenly irrupting, locally self-organizing, systemically self-amplifying threat of large-scale disruption. This form of threat, fed by instability and metastability, is not only indiscriminate, it is also indiscrimin able; it is indistinguishable from the general environment. The figure of the environment shifts: from the harmony of a natural balance to the normality of a generalized crisis environment so encompassing in its endemic threat-form as to connect, across the spectrum, the polar extremes of war and (...) the weather. Michel Foucault characterizes the dominant contemporary regime of power, coincident with the rise of neoliberalism, as ‘environmental’: a governmentality which will act on the environment and systematically modify its variables. Its actions, he emphasizes, are not standardizing since the shift in the figure of the environment has moved it out of reach of normalization. Given the indiscriminateness of the environment’s autonomous activity, environmentality must work through the ‘regulation of effects’ rather than of causes. It must remain operationally ‘open to unknowns’ and catch nonlinear, transversal phenomena before they amplify the stirrings to actual crisis proportions. What systematicity is this? And: does power’s becoming-environmental mean that, politically, we are dealing with natural subjects? Where Foucault’s question ends is where, today, we must begin, in light of how the recomposition of power whose dawning he glimpsed in 1979 has since played out. In the context of Foucault’s theories of power, the question amounts to asking: is this still ‘biopolitics’? (shrink)

This essay suggests an approach to the reading of Deleuze and Guattari's A Thousand Plateaus, grasped as a philosophical event that is as directly pragmatic as it is abstract and speculative. A series of key Deleuzo-Guattarian concepts (in particular, multiplicity, minority and double becoming) are staged from the angle of philosophy's relation to its disciplinary outside. These concepts are then transferred to the relation between the authors' philosophical lineage and the new cultural outside into which the Chinese translation will propel (...) their thought. Emphasis is placed on the writing – and reading – of philosophy as a creative act of collective import and ethical force. (shrink)

C.S. Peirce begins his 1903 lectures on pragmatism from the premise that the starting point for pragmatic philosophy as he envisions it must not be a concept of Being but rather of Feeling. Pragmatism, he explains, will be ‘an extreme realism’. Its first category will be ‘immediate consciousness’ conceived as a ‘pure presentness’ whose self-appearing is elemental to experience. Firstness cannot be couched in terms of recognition, cannot be contained in any first-person accounting of experience, and most of all can (...) in no way be construed as being ‘in the mind’ of a subject, however the subject is conceived. This article follows some of the byways of Peirce’s thinking on this constitutive field of experience prior to subject/object determinations, making links to James’s ‘pure experience’, Whitehead’s ‘critique of pure feeling’, and Deleuze/guattari’s ‘being of sensation’. (shrink)

In these two essays, two of the most important French thinkers of our time reflect on each other's work. In so doing, novelist/essayist Maurice Blanchot and philosopher Michel Foucault develop a new perspective on the relationship between subjectivity, fiction, and the will to truth. The two texts present reflections on writing, language, and representation which question the status of the author/subject and explore the notion of a "neutral" voice that arises from the realm of the "outside." This book is crucial (...) not only to an understanding of these two thinkers, but also to any overview of recent French thought.Michel Foucault was the holder of a chair at the College de France. Among his works are Madness and Civilization, The Order of Things, Discipline and Punish, and The History of Sexuality Maurice Blanchot, born in 1907, is a novelist and critic. His works include Death Sentence, Thomas the Obscure, and The Space of Literature. (shrink)

Form Follows Force : Greg Lynn -- Relational Architecture : Rafael Lozano-Hemmer -- Making to Place : Simryn Gill -- Concluding Remarks : Immanence (Many Lives).

A Thousand Plateaus is an essay in poststructuralist cultural analysis co-authored by philosopher Gilles Deleuze and psychoanalyst Felix Guattari. It applies contemporary theoretical approaches to a wide range of disciplines in the humanities and sciences. The focus of the work is the concept of subjectification, or the production of human subjectivity as an historical variable. ;The English translation is preceded by a translator's introduction. It traces the authors' philosophical background and compares A Thousand Plateaus to earlier works by Deleuze and (...) Guattari with respect to a number of issues in linguistics, semiotics, psychology, and politics. A bibliography of Deleuze and Guattari's work in French and English follows the translation. (shrink)

In this daring essay inspired by Nietzsche, Gilles Deleuze and Felix Guattari redefine the relation between the state and its war machine. Far from being a part of the state, warriers are nomads who always come from the outside and keep threatening the authority of the state. In the same vein, nomadic science keeps infiltrating royal science, undermining its axioms and principles. Nomadology is a speedy, pocket-sized treatise that refuses to be pinned down. Theorizing a dynamic relationship between sedentary power (...) and "schizophrenic lines of flight," this volume is meant to be read in transit, smuggled into urban nightclubs, offices, and subways.Deleuze and Guattari propose a creative and resistant ethics of becoming-imperceptible, strategizing a continuous invention of weapons on the run. An anarchic bricolage of ideas uprooted from anthropology, aesthetics, history, and military strategy, Nomadology carries out Deleuze's desire to "leave philosophy, but to leave it as a philosopher.". (shrink)

The Principle of Unrest explores the contemporary implications of an activist philosophy, pivoting on the issue of movement. Movement is understood not simply in spatial terms but as qualitative transformation: becoming, emergence, event. Neoliberal capitalism's special relation to movement is of central concern.

In these two essays, two of the most important French thinkers of our time reflect on each other's work. In so doing, novelist/essayist Maurice Blanchot and philosopher Michel Foucault develop a new perspective on the relationship between subjectivity, fiction, and the will to truth. The two texts present reflections on writing, language, and representation which question the status of the author/subject and explore the notion of a "neutral" voice that arises from the realm of the "outside." This book is crucial (...) not only to an understanding of these two thinkers, but also to any overview of recent French thought.Michel Foucault was the holder of a chair at the College de France. Among his works are Madness and Civilization, The Order of Things, Discipline and Punish, and The History of Sexuality Maurice Blanchot, born in 1907, is a novelist and critic. His works include Death Sentence, Thomas the Obscure, and The Space of Literature. (shrink)

« L’instinct est sympathie. Si cette sympathie pouvait étendre son objet et aussi réfléchir sur elle-même, elle nous donnerait la clef des opérations vitales. » Bergson On s’étonne de la précision athlétique du bond du félin sur sa proie ; on contemple avec admiration la prouesse architecturale du palais de termites ; la délicatesse complexe de la toile d’araignée nous transporte. La merveille réside...

The work of Gilles Deleuze (1925–95) spreads over four decades and twenty‐four volumes (and counting). The titular subject‐matter of his books ranges from topics in Western philosophy to psychoanalysis to literature to cinema to painting to the multiple itself (A Thousand Plateaus … and counting). The list of single‐authored works is intersected by a series of high‐profile collaborative projects with Félix Guattari (1930–92). In no two books, solo or duet, does the theoretical vocabulary entirely coincide. Where terms recur, their contours (...) shift. The continual variation in content, voice, and terminology makes a traditional overview impossible. (shrink)

The article examines the politicization of fear following the 11 September 2001 attacks on the World Trade Towers. It analyzes the role of mass media imagery in the wide-spread production of fear, focusing on the color-code « Terror Alert System » put in place by the Bush administration. It is argued that the recentering of governmental action on the preemptive response to threat has introduced a new time structure into politics which effectively renders futurity present. Through signs of fear conveyed (...) in mass media imagery this present futurity strikes the body at the level of affect, triggering the unfolding of a process bifurcating onto a number of self-differentiating but interconnected levels of experience. That process is construed in the essay as a « collective individuation » in Gilbert Simondon’s sense. A new vocabulary for the understanding of affective unfolding is proposed involving a four-fold distinction between « vitality affect », « pure affect », « emotion », and « affective tone ». (shrink)

When war becomes perception attack, and perception is attacked ecologically ; when the ecology is of experience dawning, and the dawning modulates what will become ; when that modulation inhabits an untimely, « eternitarian » lapse, and in that lapse we « recollect forward » a world of conflict ; when that forwarding of a world of conflict plies the « full spectrum », expressing itself as a force of life – then the machinery of war arrogates to itself ontoproductive (...) powers of emergent futurity. It claims « shocking » chaosmotic ontopower. (shrink)