In the fourteenth plateau of A Thousand Plateaus, Deleuze and Guattari develop a dichotomy between two kinds of space – the smooth and the striated. What I want to focus on in this chapter is the status of these two conceptions of space. As Deleuze and Guattari note, these two forms of space are only discovered in a mixed form, yet are capable of being analysed de jure through their separation. In this sense, the plateau (...) on the smooth and striated can be seen as something like a transcendental deduction of their ontology of spaces. I will explore what Deleuze and Guattari mean when they say that they want to construct a theo-noology of smooth and striated spaces. I want to look at the ethical implications of this distinction, before looking at some alternative approaches to the issue of space. It should be noted that the question of the striation of space is one that is shared by Bergson, Heidegger, Merleau-Ponty and Sartre among others. The novelty of Deleuze and Guattari’s account is in their formulation of the notion of smooth space as a response. I will begin by looking at the notion of striated space itself, and in particular will explore the degree to which we should see it as a structure or as a method, and the interrelation between these two characterisations. (shrink)

들뢰즈(와 과타리)에 따르면 공간은 추상적, 등질적, 선험적 조건으로 이해되지 않는다. 공간은 실제로 혼합되어 존재할지라도, 경향성의 차이에 따라 매끈한 공간과 홈 파인 공간으로 분류되어야 한다. 홈 파인 공간에서는 모든 것이 기존 규칙에 따라 조직된다. 반면 매끈한 공간에서는 가장 조직화된 것조차도 가능성을 향해 해방될 수 있다. 장기의 공간은 홈 파인 공간이며, 바둑의 공간은 매끈한 공간이다. E. 라로슈의 연구에 따르면, 노모스의 의미도 호메로스 시대와 고전기 시대에 서로 달랐다. 호메로스 시대에 노모스는 매끈한 공간에서 ‘분배하기’를 뜻한 반면, 고전기에는 홈 파인 공간에서 ‘배당하기’를 뜻했다. 전쟁기계의 임무는 (...) 매끈한 공간을 만드는 일이다. 따라서 전쟁기계의 역할은 예술가나 실험가의 역할과 같다고 할 수 있다. (shrink)

Exploring long-term educational change, we investigate our re/construction of research methodology as we moved from a positivist framework to working with ideas drawn from Deleuze and Guattari. We reveal our becoming rhizomatic in data analysis in the metamodelling of the richness flowing horizontally through our practices. We tell of our struggles to escape hierarchical thinking and relations researching between the smooth and striated. A space of interactions, conversations and writings created relations between polyphonic voices, leading us to (...) an emergent methodology. Our struggle against hierarchies in data analysis yielded rich educational possibilities for becoming that Deleuzo-Guattarian thinking offers us. (shrink)

Educational research as an academic field can be understood as a network or group of networks and, therefore, to consist of interconnected nodes that structure the way the field operates and understands its purpose. This paper deals with the nature of the induction of postgraduate students into the network of educational research that takes place through research methods courses, the textual domain, the professional and social practices involved in collaboration, conferences and publication. The consideration of this in the light of (...) Gilles Deleuze and Félix Guattari's (1988) writings on smooth and striated space problematises the notion of flows provided by Manuel Castells' (1996) understanding of networks and, by resisting the dualist simplification in terms of which the field is often discussed, offers an alternative account of how the nature of thought and practice governs the route between nodes in the network. This enables consideration of the nature of thought in relation to academic practice in educational research. (shrink)

Toward the end of the Nomadology plateau of A Thousand Plateaus, Deleuze and Guattari differentiate an ambulant holey space from the smooth space of the nomadic war machine and the striated space of the sedentary State apparatus. Although Deleuze and Guattari only discuss the concept briefly, holey space provides a useful means of framing their remarks on music in general. Music’s holey space is a quasi-territory determined by processes of following sonic movement-matter. Its (...) instruments differ from nomadic weapons and sedentary tools, being characterized by directions of injection, ejection and parajection; the vector of lines of the universe and extemporality; the model of free play; the trait of expression of incantation; and the tonality of affects-percepts. A paradigmatic instance of musical holey space is John Luther Adams’ Inuksuit as performed on the U.S.-Mexico border in 2018. (shrink)

Antony Gormley's Another Place and Olafur Eliasson's Your watercolour machine exemplify passages and combinations of smooth and striated space as beings of sensation on planes of technical and aesthetic composition. They are frames which striate the smoothness of light, water, molten iron, etc., using scientific planes of reference. Smooth and striated mix as boundaries between visitors’ bodies and installation become permeable. Optic becomes tactile, becomes haptic, generative engagement. Both artists experiment with the interface between (...) class='Hi'>striated and smooth to encourage visitors to experiment and experience sensation. The installations are liquid spaces; forms of perpetual non-permanence which affect and react with others’ behaviours in processes of co-emergence. (shrink)

We give an almost explicit presentation of exotic functions corresponding to some exotic smooth structure on topologically trivial R4. The construction relies on the model-theoretic tools from the previous paper. We can formulate unexpected, yet direct connection between ‘‘localized’’ exotic small R4’s and some noncommutative spaces. The formalism of QM can be interpreted in terms of exotic smooth R4’s localized in spacetime. A new way of looking at the problem of decoherence is suggested. The 4-dimensional spacetime itself has (...) built-in means which may enforce a kind of decoherence. (shrink)

Gilles Deleuze and Félix Guattari frequently discuss Western classical music, referencing such diverse traditions as medieval polyphony and 20th century modernism. In their work, however, they have an intense focus, common among philosophers, on composition, with very little consideration given to performance. Nevertheless, I find that their work resonates with questions of performance in important ways. In this paper, I bring Deleuze and Guattari’s work to bear on the practices and processes of musical interpretation and performance, transposing into this musical (...) domain the concepts of the smooth and the striated that they explicate in A Thousand Plateaus. The basic claim is that there exist smooth and striated methods of interpreting and performing music and that these concepts allow us to articulate afresh important differences in performance practice. Ultimately, I claim that the smooth is perhaps the privileged term, but that a good performance necessarily includes both smooth and striated elements. (shrink)

This paper explores how Deleuze and Guattari's philosophical concepts extend and elaborate discursive and psychoanalytic interpretations of qualitative research findings. Analyzing data from a UK research project exploring young people's engagements with Social Networking Sites (SNSs), Deleuze and Guattari's schizoanalytic method is drawn upon to consider complex desire-flows in the social. In particular the notion of ‘affective assemblages’ is developed to explore the relationships between school and online spaces and subjective interfacing with these spaces. The paper suggests online space (...) is heterosexually striated and SNSs create new intensified gendered and sexualized identities and affective relations between young people. Investigating the case study of a teen girl, Louise, who is socially rejected through the affective assemblage of the SNS, then pathologized at school for violently retaliating against being called a ‘fat slag’ online, the paper suggests a Deleuzoguattarian analysis offers new theoretical tools for thinking about discursive subjectification but also for mapping complex desire-flows and micro movements through and against discursive/symbolic norms. (shrink)

Deleuze's cinema project identifies a crisis of movement, action and thought, established initially in the war-devastated spaces of neo-realist cinema. Indirectly these spaces subordinate architecture as the locus of crisis, which only new, temporal artistic practices can avert. However, an architectural model of the smooth and striated, revealing a sophisticated interplay of the two concepts, can reinstall design practice and the intentional built environment as part of a productive and affirmative image of thought. The designs of James Stirling, (...) whose career unfolds alongside significant developments in post-war spatial thought, reveal sensual expressions of new modes of subjectivity and individuation to accompany the increasingly aleatory and lacunary nature of movement. (shrink)

The interrogation of generative design practice with concepts from Deleuze and Guattari's A Thousand Plateaus can lead to an understanding of how creative forces are used by generative designers. The shared notion of hyperspaces, respectively parameter space and rhizomatic space, defined as smooth or striated, allows the construction of analogies producing a framework for investigating the development and presentation of form. Richard Dawkins (together with several designers inspired by his biomorphs) and Marcel Wanders, representative of the (...) divergent forms to which generative design has developed since its conception, are used to illustrate and interrogate this framework. From this interrogation the concept of trajectory (inward or outward), the direction in which smooth spaces are explored and striated space constructed, is proposed as a means to guide generative practice. (shrink)

Since the era of deinstitutionalisation, many clinical approaches have emerged to enable the care and treatment of people suffering from mental illness. In recent years, the use of coercive approaches in the community (e.g., outpatient commitment or community treatment orders) has also increased internationally. Although nurses' role regarding these coercive approaches is central and significant, few empirical and theoretical writings have tackled this controversial nursing practice. The purpose of this paper is to analyse coercive nursing care through the lens of (...) French philosopher Gilles Deleuze's concept of ‘societies of control’. Taking up Michel Foucault's work on disciplinary power, Deleuze explores how the move from the striated spaces of closed institutions to the smooth spaces of societies of control took place since the middle of the 20th century. According to Deleuze, the overall objective of ‘societies of control’ is no longer simply to govern deviant behaviour in closed environments (e.g., psychiatric hospitals and prisons) but to ensure a regime of unrelentless surveillance in the open spaces of our communities. (shrink)

Deleuze and Guattari develop a notion of “minor literature” in their short book on Kafka, and the opposition major/minor has been used with varying degrees of success by critics working in a range of disciplines including architectural theory. Teasing out the potentially subversive implications of the major/minor opposition requires reading it in relation to other binarisms developed by Deleuze and Guattari in those same years, e.g., state/nomadic science, striated/smooth space, optic/haptic, as well as Guattari’s useful concept “machinic (...) heterogenesis.” Then, one ends up with a minor architecture concerned with partially subversive practices rather than with structure per se. A building’s minor status is figured through its deployment in and production of a space that is a technological, social and political pattern as well as a line of flight. This paper reads minor architecture by examining the minor house built by Henry David Thoreau at Walden Pond and those currently being assembled by the Mad Housers in Atlanta, Georgia. (shrink)

I BEGIN WITH A PUZZLE of sorts. Time is one; space is two—at least two. Time comes always already unified, one time. Thus we say “What time is it now?” and not “Which time is it now?” We do not ask, “What space is it?” Yet we might ask: “Which space are we in?”. Any supposed symmetry of time and space is skewed from the start. If time is self-consolidating—constantly gathering itself together in coherent units such (...) as years or hours or semesters or seasons— space is self-proliferating. Take, for example, the dimensionality of space. One dimension in space is represented by a point or a line, whose radically reduced format mocks the extensiveness of cosmic space. Two dimensions, as in a plane figure, also falls far short of our sense that space spreads out indefinitely far beyond the perceiving subject. Only with three dimensions do we begin to approach an adequation between the structure and the sense of space. For then the subject is surrounded by something sufficiently roomy in which to live and move. Indeed, as Aristotle, Kant, and Merleau-Ponty all remark, the three-dimensionality of space directly reflects our bodily state, that is, the fact that as upright beings three perpendicular planes implicitly meet and intersect in us. Even here, proliferation abounds: our bilateral symmetry means that each dimension is doubled: one vertical plane bifurcates into “up” and “down,” the other vertical plane into “front” and “back,” and the horizontal plane into “right” and “left.” Thus subject-centered space is triple, only to be redoubled. Further, if we think of spatiality not as body-based but as locatory—as determined by landmarks and other locales in the environment—the proliferation is more striking still. There are the four cardinal directions, which themselves split easily into the thirty two points of a compass. Nor need we be so arithmetically well-rounded. Even apart from fancy mathematical models of n –dimensional space, and recent technological instantiations of virtual space, there is no end to the number or ways in which we can be oriented in space—in accordance with what Deleuze and Guattari call “the variability, the polyvocity of directions” by which we can move in any given spatial scene. Beyond direction, however, is place. Heidegger remarks that “space has been split up into places.” The fact is that we continually find ourselves immersed in a multiplex spatial network whose nodal points are supplied by particular places. If space is infinitely large, place is indefinitely many. (shrink)

I BEGIN WITH A PUZZLE of sorts. Time is one; space is two—at least two. Time comes always already unified, one time. Thus we say “What time is it now?” and not “Which time is it now?” We do not ask, “What space is it?” Yet we might ask: “Which space are we in?”. Any supposed symmetry of time and space is skewed from the start. If time is self-consolidating—constantly gathering itself together in coherent units such (...) as years or hours or semesters or seasons— space is self-proliferating. Take, for example, the dimensionality of space. One dimension in space is represented by a point or a line, whose radically reduced format mocks the extensiveness of cosmic space. Two dimensions, as in a plane figure, also falls far short of our sense that space spreads out indefinitely far beyond the perceiving subject. Only with three dimensions do we begin to approach an adequation between the structure and the sense of space. For then the subject is surrounded by something sufficiently roomy in which to live and move. Indeed, as Aristotle, Kant, and Merleau-Ponty all remark, the three-dimensionality of space directly reflects our bodily state, that is, the fact that as upright beings three perpendicular planes implicitly meet and intersect in us. Even here, proliferation abounds: our bilateral symmetry means that each dimension is doubled: one vertical plane bifurcates into “up” and “down,” the other vertical plane into “front” and “back,” and the horizontal plane into “right” and “left.” Thus subject-centered space is triple, only to be redoubled. Further, if we think of spatiality not as body-based but as locatory—as determined by landmarks and other locales in the environment—the proliferation is more striking still. There are the four cardinal directions, which themselves split easily into the thirty two points of a compass. Nor need we be so arithmetically well-rounded. Even apart from fancy mathematical models of n –dimensional space, and recent technological instantiations of virtual space, there is no end to the number or ways in which we can be oriented in space—in accordance with what Deleuze and Guattari call “the variability, the polyvocity of directions” by which we can move in any given spatial scene. Beyond direction, however, is place. Heidegger remarks that “space has been split up into places.” The fact is that we continually find ourselves immersed in a multiplex spatial network whose nodal points are supplied by particular places. If space is infinitely large, place is indefinitely many. (shrink)

The writings of Gilles Deleuze and Félix Guattari have had an immense impact on architectural discourse during the last two decades, particularly in the realm of digital design and fabrication. Well-known concepts such as the rhizomatics, striated and smooth space, and folding have become part of architectural jargon. While Deleuze and Guattari do not devote much text directly to permanent forms of architecture, they are intrigued by structures like tents, shantytowns, and burrows. This 3 volume set of (...) writings on architecture and urbanism presents a range of previously published pieces by Deleuze and Guattari and by many architectural and cultural theorists that explore the implications of their theories on the built environment. This critical collection will be useful to anyone looking into the impact of these great thinkers as it gathers together in one place the best sources for easy access. (shrink)

Nowadays there are many spaces of fascination in visual art. Of course, installative space and contextual space have been on the art scene for awhile. However, they are now accompanied by other spaces such as urban space, architectural space, cyberspace, hyperspace, and screen-based space. In this volume, architects, artists, theorists, three symposia and four exhibitions attempt to find answers to questions such as: Could the architectonic study and/or deconstruction of space play a decisive role (...) in the shift of attention to space? Which theoretical factors structure the current experience and meaning of space? What is the role of the aesthetization of the environment on our concept of space? Smooth Space - VCC de Brakke Grond, Amsterdam - is a project at the heart of this publication. Spatial interests range from how the concept of space is redefined and exploited in our current visual culture to how the digital world influences our spatial concepts. Participants in this issue are: Jean Attali, Annette W. Balkema, Andrew Benjamin, Ole Bouman, Bernard Cache, Paul Crowther, Christoph Fink, Hugo Heyrman, Hou Hanru, Rem Koolhaas, Geert Lovink, Karlheinz Lüdeking, Bartomeu Mari, Kas Oosterhuis, Jan van de Pavert, Keiko Sato, Eran Schaerf, Lara Schnitger, Roger Scruton, Martin Seel, Nasrine Seraji, Henk Slager, Sjoerd Soeters, Lars Spuybroek, Ann Van Sevenant, Peter Weibel and Mark Wigley. (shrink)

With the rising influence of digitalization and its immense penetration intoeven everyday life, the last decade of the 20th Century addressed to a critical threshold in the successive transformation process of the spatiality in its long-term run. The advanced digital technologies of ubiquitous computing and generative design, as well as the invention of smart materials in late 90’s have all provoked the fluid characteristics of spatiality, and strengthen the transformative capacities of the architectural space through the emergence of computer-augmented (...) territories. Additionally, while they are becoming as the body extensions, the advent of novel apparatuses and gadgets further enhanced the inte- gration of the corporal and incorporal bodies with the spatio-temporal multiplicities, where the hyperdimensionality of the space has been triggered to its outmost range, in relation to the “soft and smart technologically augmented immanent millieu”, in Spuybroek terms. Thus, like Spuybroek points out as the “haptonomist” presence of the body merges itself with these diverse bodily extensions on one hand; and on the other hand, as the rising influence of nomadic view of the world further stimulates the unboundedness and endless fluidity of space, so that the spatiality becomes a landscape of successive transformations, a topology of emergence or a plane of becoming, which is merely defined by lines of forces, and occures as an alive territory rather than a limited space of predefined boarders. Therefore, this evolvable territory which is affectable and being affected by the lines of forces –inner and outer forces–, emerges as an animated existence, an interactive organism. So, by interacting with the Deleuzian Philosophy and their notions like lines of forces, folding, becoming, smooth space, territory, spatium, this article aims to reveal the relevance of these notions in architectural discourse, as well as the emergence of the smooth space in the contemporary architectural practice, by magnifiying one of the very initial examples of its kind; in terms of unfolding the Fresh Water Pavilion of NOX Architecture by Lars Spuybroek into question to reveal the essences of thecontemporary transformable-evolvable architectural spatiality. (shrink)

Toward the end of the Nomadology plateau of A Thousand Plateaus, Deleuze and Guattari differentiate an ambulant holey space from the smooth space of the nomadic war machine and the striated space of the sedentary State apparatus. Although Deleuze and Guattari only discuss the concept briefly, holey space provides a useful means of framing their remarks on music in general. Music’s holey space is a quasi-territory determined by processes of following sonic movement-matter. Its (...) instruments differ from nomadic weapons and sedentary tools, being characterized by directions of injection, ejection and parajection; the vector of lines of the universe and extemporality; the model of free play; the trait of expression of incantation; and the tonality of affects-percepts. A paradigmatic instance of musical holey space is John Luther Adams’ Inuksuit as performed on the U.S.-Mexico border in 2018. (shrink)

What if gravity satisfied the Klein-Gordon equation? Both particle physics from the 1920s-30s and the 1890s Neumann-Seeliger modification of Newtonian gravity with exponential decay suggest considering a "graviton mass term" for gravity, which is _algebraic_ in the potential. Unlike Nordström's "massless" theory, massive scalar gravity is strictly special relativistic in the sense of being invariant under the Poincaré group but not the 15-parameter Bateman-Cunningham conformal group. It therefore exhibits the whole of Minkowski space-time structure, albeit only indirectly concerning volumes. (...) Massive scalar gravity is plausible in terms of relativistic field theory, while violating most interesting versions of Einstein's principles of general covariance, general relativity, equivalence, and Mach. Geometry is a poor guide to understanding massive scalar gravity: matter sees a conformally flat metric due to universal coupling, but gravity also sees the rest of the flat metric in the mass term. What is the 'true' geometry, one might wonder, in line with Poincaré's modal conventionality argument? Infinitely many theories exhibit this bimetric 'geometry,' all with the total stress-energy's trace as source; thus geometry does not explain the field equations. The irrelevance of the Ehlers-Pirani-Schild construction to a critique of conventionalism becomes evident when multi-geometry theories are contemplated. Much as Seeliger envisaged, the smooth massless limit indicates underdetermination of theories by data between massless and massive scalar gravities---indeed an unconceived alternative. At least one version easily could have been developed before General Relativity; it then would have motivated thinking of Einstein's equations along the lines of Einstein's newly re-appreciated "physical strategy" and particle physics and would have suggested a rivalry from massive spin 2 variants of General Relativity. The Putnam-Grünbaum debate on conventionality is revisited with an emphasis on the broad modal scope of conventionalist views. Massive scalar gravity thus contributes to a historically plausible rational reconstruction of much of 20th-21st century space-time philosophy in the light of particle physics. An appendix reconsiders the Malament-Weatherall-Manchak conformal restriction of conventionality and constructs the 'universal force' influencing the causal structure. Subsequent works will discuss how massive gravity could have provided a template for a more Kant-friendly space-time theory that would have blocked Moritz Schlick's supposed refutation of synthetic _a priori_ knowledge, and how Einstein's false analogy between the Neumann-Seeliger-Einstein modification of Newtonian gravity and the cosmological constant \Lambda generated lasting confusion that obscured massive gravity as a conceptual possibility. (shrink)

I propose a theory of space with infinitesimal regions called smooth infinitesimal geometry based on certain algebraic objects, which regiments a mode of reasoning heuristically used by geometricists and physicists. I argue that SIG has the following utilities. It provides a simple metaphysics of vector fields and tangent space that are otherwise perplexing. A tangent space can be considered an infinitesimal region of space. It generalizes a standard implementation of spacetime algebraicism called Einstein algebras. It (...) solves the long-standing problem of interpreting smooth infinitesimal analysis realistically, an alternative foundation of spacetime theories to real analysis, 277–392, 1980). SIA is formulated in intuitionistic logic and is thought to have no classical reformulations. Against this, I argue that SIG is such a reformulation. But SIG has an unorthodox mereology, in which the principle of supplementation fails. (shrink)

§ 1. Introduction. In this communication we present some recent results on the classification of Polish metric spaces up to isometry and on the isometry groups of Polish metric spaces. A Polish metric space is a complete separable metric space.Our first goal is to determine the exact complexity of the classification problem of general Polish metric spaces up to isometry. This work was motivated by a paper of Vershik [1998], where he remarks : “The classification of Polish spaces (...) up to isometry is an enormous task. More precisely, this classification is not ‘smooth’ in the modern terminology.” Our Theorem 2.1 below quantifies precisely the enormity of this task.After doing this, we turn to special classes of Polish metric spaces and investigate the classification problems associated with them. Note that these classification problems are in principle no more complicated than the general one above. However, the determination of their exact complexity is not necessarily easier.The investigation of the classification problems naturally leads to some interesting results on the groups of isometries of Polish metric spaces. We shall also present these results below.The rest of this section is devoted to an introduction of some basic ideas of a theory of complexity for classification problems, which will help to put our results in perspective. Detailed expositions of this general theory can be found, e.g., in Hjorth [2000], Kechris [1999], [2001]. (shrink)

A theoretical device, which incorporates the functions of clock, rod, nonrotating platform, and accelerometer, and whose operation depends on the properties of light rays and free particles, is defined. The device, which we call a metrosphere, is simple enough that it can be introduced at the starting point of relativity theory and versatile enough that it can serve as an aid in the development and conceptualization of the theory. Relative to an inertial frame, a moving metrosphere undergoes a Lorentz-Fitzgerald contraction (...) and the associated clock exhibits a Lorentz-Larmor rate retardation. From this fact and the assumption that there exists one inertial frame, it is possible to generate the kinematical results of special relativity. A metrosphere provides an observer with a local frame of reference, hence it is well adapted to the needs of general relativity, allows the equivalence principle to be introduced in a straightforward manner, and permits a smooth transition from special relativity to general relativity. (shrink)

Through an exploratory interrelation of theory with fine art practice, this article sets out to address the role of memory in the transitions and transformations between smooth and striated states. The article constructs a striated, woven formation between virtual and acquired memory, and attentive and inattentive perception, before going on to investigate how its regularity is disrupted through disturbances, slippages and snags.

Contemporary psychiatry faces serious challenges because it has failed to incorporate accumulated knowledge from basic neuroscience, neurophilosophy, and brain–mind relation studies. As a consequence, it has limited explanatory power, and effective treatment options are hard to come by. A new conceptual framework for understanding mental health based on underlying neurobiological spatial-temporal mechanisms of mental disorders (already gained by the experimental studies) is beginning to emerge.

The singularity space consists of all germs , with X a Noetherian scheme and x a point, where we identify two such germs if they become the same after an analytic extension of scalars. This is a complete, separable space for the metric given by the order to which jets agree after base change. In the terminology of descriptive set-theory, the classification of singularities up to analytic extensions of scalars is a smooth problem. Over , the following (...) two classification problems up to isomorphism are then also smooth: analytic germs; and polarized schemes. (shrink)

In this book, leading theorists present new contributions and reviews addressing longstanding challenges and ongoing progress in spacetime physics. In the anniversary year of Einstein's General Theory of Relativity, developed 100 years ago, this collection reflects the subsequent and continuing fruitful development of spacetime theories. The volume is published in honour of Carl Brans on the occasion of his 80th birthday. Carl H. Brans, who also contributes personally, is a creative and independent researcher and one of the founders of the (...) scalar-tensor theory, also known as Jordan-Brans-Dicke theory. In the present book, much space is devoted to scalar-tensor theories. Since the beginning of the 1990s, Brans has worked on new models of spacetime, collectively known as exotic smoothness, a field largely established by him. In this Festschrift, one finds an outstanding and unique collection of articles about exotic smoothness. Also featured are Bell's inequality and Mach's principle. Personal memories and historical aspects round off the collection. (shrink)

Most models of generational succession in sexually reproducing populations necessarily move back and forth between genic and genotypic spaces. We show that transitions between and within these spaces are usually hidden by unstated assumptions about processes in these spaces. We also examine a widely endorsed claim regarding the mathematical equivalence of kin-, group-, individual-, and allelic-selection models made by Lee Dugatkin and Kern Reeve. We show that the claimed mathematical equivalence of the models does not hold. *Received January 2007; revised (...) April 2008. †To contact the authors, please write to: Elisabeth Lloyd, Department of History and Philosophy of Science, 130 Goodbody Hall, Indiana University, Bloomington, IN 47405; e-mail: [email protected]; Richard Lewontin, Department of Organismic and Evolutionary Biology, Harvard University, 26 Oxford Street, Cambridge, MA 02138; Marcus Feldman, Department of Biological Sciences, Stanford University, Stanford, CA 94305; e-mail: [email protected]. (shrink)

Abstract:This study analyses how the migrant experience is reflected in the geography of Hugo Hamilton's work of fiction entitled Hand in the Fire (2010). The novel is told from the point of view of Vid, a Serbian immigrant who is trying to settle in Ireland. The young carpenter endeavours to fit in Irish society through his friendship with a young Dublin lawyer, Kevin Concannon, who tells him that a true friend would put his “hand in the fire” for you. Through (...) the portrayal of these displaced characters, Hamilton explores his favourite themes of memory and belonging. This article focuses on the places depicted in the novel, from the Serbia that Vid has left in his past to the modern-day Dublin and the west coast of Ireland, in order to analyse how the settings of the narrative reflect the characters’ state of mind. Using Deleuze and Guattari's concepts of de/re-territorialization and of striated/smooth spaces, the examination of the geographies of the novel allows for a better understanding of the issues at stake for the characters. The liminal, deterritorialized figure of the immigrant represented by Vid is echoed by the smooth islands of the novel. In an archipelagic country where the coastline stands for the visual border, it is no wonder that the transnational protagonist is drawn to the Irish shores. On the edge of two cultures, Vid, who lives in Dún Laoghaire, south of Dublin, is gradually moving west to the striated landscape of Connemara, where he investigates on Kevin's aunt who drowned and was washed ashore the Aran Islands. (shrink)

Assembled here for the first time in English translation, Sigrid Weigel and Georgina Paul offer illuminating new insights into Benjamin's theory, combining impulses from post-structuralism, feminism, cultural anthropology and psychoanalysis.

This article focuses on images of walking in Agnès Varda's films – Cléo de 5 à 7 (1962), Sans toit ni loi (1985), and Les Plages d’Agnès (2008). The activity of walking (as urban flânerie, circular travelling or walking backwards) is central to these films, and can be seen as a corporeal practice that not only interweaves striated and smooth spaces but also offer a gender-sensitive, political contemplation on the forces of striation and smoothing as well as a (...) re-invention of space. The women in movement in Varda's films embody a transgression of stratified territories such as the image-oriented society of the spectacle in Cléo, myths of adolescence and settled living in Sans toit ni loi, or the boundaries of aging in Les Plages d'Agnès. (shrink)

This article inquires into the clinical figure of paranoia and its constitutive role in the articulation of the nation-state discourse in Europe, uncovering a central tension between a principle of integrity and a dualist spatial configuration. A conceptual distinction between ‘border’ (finis) and ‘frontier’ (limes) will help to expose the political effects of such a tension, unveiling the way in which a solid and striated organisation of space has been mobilised in the topographic antagonism of the nation, sustaining (...) the phantasm of a self-enclosed, self-sufficient finitude. (shrink)

Philosophers today have largely given up on the project of categorizing being. Aristotle’s ten categories now strike us as quaint, and no attempt to improve on that effort meets with much interest. Still, no one supposes that reality is smoothly distributed over space. The world at large comes in chunks, and there remains a widespread intuition, even among philosophers, that some of these chunks have a special sort of unity and persistence. These, we tend to suppose, are most truly (...) agents and subjects, and are what exist in the most proper sense of the term. We believe, in other words, in substances. (shrink)

In the triumvirate of personalities and motives—from Wright and Baldwin to Coates—we encounter the essential elements of the “crisis” that configures black passage in the New World. These lines of kinship, both consanguineous and ineffable, travelling from father to son, from uncle to nephew, from one generation to the next, lend us a figurative rhythm that grasps the notion of the processional —the traversal of time and space that remains fundamentally mysterious, just as we can put our finger directly (...) on the problem—black life is still as endangered and precarious as it ever was. If one regards such passage as a “crisis,” then it is precisely because it is riddled with turning points, sudden ruts and rifts in the road when the way seemed smooth and clear—those moments when decisions must be made—and from that perspective, African-American cultural apprenticeship offers, by definition, crisis not as a state of exception, but rather, as a steady state, given historical pressures that bear in on it and that become, as a result, intramural pressures. What I wish to do in these remarks is to clarify one of the questions engendered by this predicament, and that is to say, the riddle of identity and how it matters, but even more than an inquiry into the identitarian, I am searching for a protocol through intramural space. (shrink)