While most new materialists, including Thomas Nail, tend to distance themselves from Deleuze, this essay reads the encounter of Nail's ‘process materialism’ and Deleuzian philosophy as productive rather than contentious. After tracing the affinities of their notions of continuity and discontinuity by way of Deleuze's The Fold: Leibniz and the Baroque and Nail's Lucretius I: An Ontology of Motion and Being and Motion, the essay considers Nail's unfolding of Lucretius’ luminous philosophy in relation to Deleuze's reading of Lucretius from within (...) Deleuze's own ‘philosophical luminism’. Within the multiple overlaps between Nail and Deleuze, particularly vis-à-vis quantum physics and quantum field theory, their divergent readings of the particle–wave duality bring about a productive conceptual tension. Nail's argument about the ontological precedence of waves over particles is illuminated by Deleuze's concept of their ontological complementarity, and vice versa. (shrink)

If a machine is something that cuts into a continuous flow, schizoanalysis can be read, quite literally, as an analysis of cuts. In cinematic registers, it is an analysis of montage. Looking closely at a number of modes and moments of montage in the work of Alfred Hitchcock, this paper shows how his strategies of ‘reciprocally presupposing’ actual image and virtual montage relate to a Deleuzian poetics and politics of the cinema.

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'.

Engaging the whole body of Deleuze's work, including less rehearsed texts such as The Actual and the Virtual, Lucretius and the Simulacrum and his lectures on Spinoza, Hanjo Berressem traces the 'line of light' that runs through Deleuze's thought.