The Human Strike and The Politics of Escape


Transcript of a short talk I gave @ b-books for the German book launch of Dark Deleuze in Berlin. 

Introductory Remarks

The terms of escape, opacity, and indiscernibility are perhaps three of the most essential concepts that constitute the lexicon of Dark Deleuze; a lexicon that seeks to refute and replace the consensus of Deleuze as a thinker of affirmation, of joyous affects, and lover of rhizomes. If this is so, readers may find the text’s development of these terms merely suggestive, especially since the notion of escape is given its most interesting treatment in the final passages of the text’s concluding chapter. However, as I hope to show, these concepts of escape, opacity, and indiscernibility, gain in significance insofar as we understand them in relation to the interlocutors Andrew brings together in his reading of Deleuze; and particularly the work of the Paris based art collective Claire Fontaine (and to a lesser extent Tiqqun) whose names appear at key moments in the development of this politics of escape.

1. Escape, Opacity, Indiscernibility

To begin, we can ask the following question: how are we to understand a politics of escape in light of Dark Deleuze’s argument that Deleuze, has always been, a partisan of the anti-state communist tradition? At the outset we can say that escape is not to be confused with some generalized notion of deterritorialization or even with Deleuze and Guattari’s concept of lines of flight. To escape requires lines of flight, but the two are not one and the same. For Andrew, escape is given a decidedly political inflection where lines of flight pertain to the objective tendencies of the world that, if taken to their logical conclusions, force a qualitative change of the situation:

Escape is never more exciting than when it spills out into the streets, where trust in appearances, trust in words, trust in each other, and trust in this world all disintegrate in a mobile zone of indiscernibility (Fontaine, ‘Black Bloc’). It is these moments of opacity…and breakdown that darkness most threatens the ties that bind us to this world. (Dark Deleuze, 70)

Regarding this passage it is worth noting the reference to Claire Fontaine and her writing on the black bloc, which suggests to the reader that between Fontaine and this Dark Deleuze there is something in common. What both Fontaine and Dark Deleuze hold in common is their antipathy toward those who envision the task of Thinking being one of adequate description, or the verification of conceptual representations. In contrast to these positions that equate thinking with representing/describing the world, Fontaine and Deleuze assert that before all else Thinking is a response to a problem whose nature is political. Or as Deleuze and Guattari write in the 8th chapter of A Thousand Plateaus, ‘…politics precedes Being’ (ATP, 203). Additionally, and perhaps more importantly, the reason for the reference to Fontaine’s work is because it is Fontaine who develops a key distinction that is implied in Dark Deleuze’s conclusion and one that will allow us to understand how the three terms of escape, opacity, and indiscernibility relate to one another. In her essay ‘This is not the black bloc’ Fontaine distinguishes between what is ontologically indiscernible and that which is politically indiscernible. As she writes:

A distinctive feature of one who finds themselves in what we call a black bloc is to demand nothing for themselves or for others, to cut across public space without being subjected to it for once, to disappear in a mass or factory exists and public transportation at rush hour…In this night where all demonstrators look alike there is no point in posing Manichean questions. Especially since we know that the distinction between guilty and innocent no longer matters, all that counts is the one between winners and losers. (Claire Fontaine, ‘This is not the black bloc’)

A world of difference, then, keeps apart the fabled ‘night in which all cows are black’ from the night of insurrection ‘where all demonstrators look alike’. Regarding the former, we find ourselves disabled in the face of pure immediacy. In this situation, there is nothing about the world that allows us to distinguish something from anything else; a cause from its effect; a principle from its consequences. However, in the night where all demonstrators look alike, we find ourselves enabled in our confrontation with capital’s imposed daily rhythm and its state apparatuses of capture. For example, while one may ordinarily be subjected to ‘random’ stops by the police or even the violence that always arrives at demonstrations, the indiscernibility of the black bloc affords this mass of individuals more opportunities for attack and resisting arrest than if they were to assume the transparency model of peaceful protest and orderly conduct. Fontaine continues:

Continue reading “The Human Strike and The Politics of Escape”

‘Concrete Rules and Abstract Machines’ (some notes & comments on Brassier’s talk at the ‘A Thousand Plateaus and Philosophy’ London Workshop)


[What follows is a summary of, and some comments on, Ray Brassier’s talk regarding the final chapter of A Thousand Plateaus. Delivered in London, 2015, at the A Thousand Plateaus and Philosophy Workshop]

At the very least one can confidently say that the reputation of A Thousand Plateaus precedes itself. At times, its reputation even precedes a reader’s first encounter with the text itself. And in light of ATP‘s repute, one of the features of this text that is known by all is that its authors have written the book in such a way that a reader can skip ahead or begin from the middle of whatever plateau grabs their interest. We are told that ATP is a book written to liberate its audience and to affect us so that we feel free to pick and choose where the story begins and ends. As Massumi himself notes in his translator’s forward, reading ATP is best done in the same way one listens to a record:

“When you buy a record there are always cuts that leave you cold. You skip them. You don’t approach a record as a closed book that you have to take or leave. Other cuts you may listen to over and over again. They follow you. You find yourself humming them under your breath as you go about your daily business. A Thousand Plateaus is conceived as an open system…The author’s hope…is that elements of it will stay with a certain number of its readers and will weave into the melody of their everyday lives” (ATP, xiv).

Despite the kernel of truth in Massumi’s record metaphor (the element of truth being that it is the case that throughout the chapters of ATP Deleuze and Guattari remain consistent in their use of specific terms and concepts and thus develop a unifying thread throughout all the plateaus that renders a one’s decision of abrupt beginnings and endings of little consequence), to overemphasize this staggered and haphazard approach to ATP is to elide one of it’s most fundamental features; a feature that Brassier will seek to highlight in his reading of the final chapter, ‘Concrete Rules and Abstract Machines.’

For Brassier, there is in fact a fundamental or privileged plateau: namely, the chapter on the Geology of Morals. Why? Because when Deleuze and Guattari conclude their text with a set of concrete rules for effectuating specific abstract machines, they base this final chapter on the very logic of double articulation develop in the Geology of Morals plateau. For Brassier, what’s striking when one reads ATP is the consistency with which Deleuze and Guattari use their vocabulary. Thus, despite the appearance of a proliferation of concepts tied to particular sets of practices (art, science, philosophy, literature, psychoanalysis, etc.), the concepts developed throughout ATP in fact constitute a unified logical system. Thus, says Brassier, it is the logical and conceptual relationship between double articulation and the final chapter that gives the lie to the kinds of readings of this text that fall in line with Massumi’s prescribed approach. However, before directly engaging with the relationship between double articulation and the final chapter of ATP, Brassier spends some time clarifying Deleuze and Guattari’s text in relation to other philosophical positions, and specifically in relation to those philosophies that lay claim to the title of materialism.

I). What is it that makes rules ‘concrete’ and machines ‘abstract’?

For Brassier, Deleuze and Guattari’s materialism is neither a contemplative representation of a pre-existing material reality, nor a series of practical imperatives that presupposes and yet disavows a theoretical representation of the world. For all its idiosyncrasy, ATP is a very classical work – where ontology is at one with ethics. This is not to say that it is a conservative work. Rather, it is a contemporary reactivation of the classical task of philosophizing: a fusion of understanding what there is and how to live (what we should do). The title of the last chapter, ‘Concrete Rules and Abstract Machines,’ gives Brassier a hint at how Deleuze and Guattari reconceive of this classical aim of philosophizing. Namely, by developing what Brassier terms an ‘abstract materialism’ (unformed matter) in tandem with a ‘concrete ethics’ (practical prescriptions for action selected independently of universal law). Thus, the question Brassier aims to clarify and explain is this: how can concrete practices engage formless matter? This is another way of asking about the relation between the ABSTRACT (machine) and the CONCRETE (actions); or, in Deleuze and Guattari’s language, between the UNFORMED (i.e., matters/flows that characterizes the plane of consistency) and the EFFECTUATED (i.e., how concrete rules develop the abstract machine enveloped in the strata/stratification).

Continue reading “‘Concrete Rules and Abstract Machines’ (some notes & comments on Brassier’s talk at the ‘A Thousand Plateaus and Philosophy’ London Workshop)”

Deleuze, Patton, and Godard go to the Cinema

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Jean-Pierre Léaud and Anne Wiazemsky, La Chinoise (1967)

The aim of this essay is to interrogate the relationship between Idea-problems, creativity, and the society of control as undertaken by Deleuze (within philosophy), Godard (within cinema), and Paul Patton (philosophy and cinema). It will be shown how Deleuze’s understanding of the relation between Ideas, creativity, and control differs in important ways from Patton’s interpretation of Deleuze’s thought on cinema. On Patton’s reading, the pessimism Godard expresses regarding gender roles in Sauve Qui Peut (La Vie) is merely a pretext for a redemptive reading of a becoming-woman, which prescribes an ethico-aesthetics of an “affective optimism and affirmation of life. (additionally – it is because Patton applies Deleuzean concepts to Sauve Qui Peut, that I term this an ‘affirmationist’ interpretation). Thus, what is essential according to Patton’s reading of Deleuze’s thinking regarding cinema is the following assertion:

“Deleuze and Guattari accord an ethical and ontological priority to those modes of existence which allow the maximum degree of movement, for example, forms of nomadism or rhizomes. In this sense, their philosophy embodies a vital ethic which affirms the creative power of life, even if this is something a non-organic life tracing the kind of abstract line we find in art or music.” (Patton, ‘Godard/Deleuze: Sauve Qui Peut)

As we will see, Patton’s interpretation of Godard, and use of Deleuze, simply reintroduces Platonism back into the heart of Deleuze’s thoroughly anti-Platonist commitments – whether considered within the domain of philosophy, art, science, or politics. By grounding Deleuze’s vitalism on the principle of life’s inherent creativity, Patton proposes a “Deleuzean” ethics and politics whose fundamental aim is the application of these metaphysical, social, and aesthetic principles (becoming-x, lines of flight, and so on) within the domains of art and politics. And it is precisely this idea of taking what is metaphysically True as the means and application what is aesthetically and politically Good, that is the trademark of Platonism. It is for this reason that we will claim that Patton reintroduces Platonism back into Deleuze’s strict anti-Platonism.


So what are we to make of Patton’s claim that Deleuze and Guattari give ethical and ontological priority to modes of maximizing one’s degrees of movement (rhizomes, nomads), such that this priority is tantamount to an affirmation of the creative powers of life as such? On Patton’s reading, what is key for understanding Deleuze’s relationship to cinema is his lasting commitment to the priority of a maximization of joyful encounters over and against the secondary fact of what is created in the process itself. The affirmationist interpretation categorizes the ‘creative powers of life’ as the principle of revolutionary aesthetic and political praxis and relegates life’s products as the consequence of what exists as ontologically, artistically, and politically prior. Thus Godard’s Sauve Qui Peut (La Vie), which Patton reads as emblematic of Deleuze’s aesthetic theory, is presented as a meditation on the ambiguities at the heart of masculine and feminine social roles; or, better still, as a presentation of gender as a zone of indistinction where the norms that underpin the gender binary are called into question. For Patton, it is precisely the unresolved dilemma regarding masculine social norms that gives one the impression of Godard’s pessimism regarding young men in post war France. However, this pessimistic impression of masculinity is only a pretext for the optimism that lies in the potential of a becoming-woman. As Patton writes,

“this pessimism about the male condition is not only circumscribed but contrasted with an optimism about life, albeit a life which has become feminine…The result is an affective optimism and affirmation of life which attaches itself above all to images of women engaged in an active becoming of their own.”

Thus, what first appears as Godard’s pessimism is simply indicative of a more fundamental optimism; an optimism that requires an affirmation of the becoming-woman at the heart of the dilemma of masculinity as such. Moreover, this becoming-woman isn’t simply taken as the becoming-minor at the heart of the molar identities of masculine/feminine. By invoking the Godardardian principle, ‘not just ideas, just ideas’, Patton reads this becoming-minor as being  privileged by Deleuze and Guattari since lines of flight and becomings are creative in themselves and harbor the potential for transformation and novelty. For Patton, a cinema or politics that operates by way of correct ideas (just ideas), as opposed to just having ideas, tends toward the ossification of power and the repetition of all the pitfalls already exhibited by historical communism. That is, Deleuze and Guattari view correct ideas as privileging “conformism and dogmatism.” Thus, according to Patton, they maintain “a rejection of any subordination to intellectual authority which inhibits creativity.”

This is the crux of the affirmationist interpretation: lines of flight, becoming-minor, rhizome-books, and so forth, are taken to be axiomatic to Deleuze (and Guattari’s) understanding of aesthetics, ethics, and politics. For Patton, anything that inhibits the creative potential of these lines of flight is seen as reactionary pure and simple. While Patton’s interpretation contains some kernel of textual truth, errors arise insofar as Deleuze and Guattari are interpreted as valorizing becoming and transformation for its own sake and on the basis of the idea that the creative powers of life are the ethico-political guideposts for aesthetic and political practices.

The affirmationist interpretation correctly highlights Deleuze’s emphasis on ambiguity, lines of flight, and the inherent quality of resistance in artistic production. However, this interpretation misconstrues how Deleuze views the emancipatory potential of each of these categories within cinema itself. That is, and against the affirmationist interpretation, not only does Patton commit himself to an approach to cinema that Deleuze explicitly rejects (applying concepts from outside cinema, and in this case from the Deleuzean corpus, to bear on cinema itself); Patton misunderstands Deleuze’s vitalism, which is in fact a theory of time and not a theory of some universal life force, and thereby conflates a faith in life’s inherent creativity with an aesthetico-political concept of resistance, change, and liberation. Regarding this discrepancy between vitalism as a theory of life or a theory of time, John Mullarkey’s genealogy of the vitalism Deleuze inherits from Bergson is crucial. As he writes,

“It takes only a little first-hand knowledge of Bergson’s texts to enable oneself to move beyond the stereotypical interpretation of Bergsonian vitalism as a notion regarding some mysterious substance or force animating all living matter. His theory of the élan vital has little of the anima sensitiva, archeus, entelechy, or vital fluid of classical vitalisms. This is a critical vitalism focused on life as a thesis concerning time (life is continual change and innovation) as well as an explanatory principle in general for all the life sciences” (‘Life, Movement and the Fabulation of the Event,’p. 53).

Thus, since Patton maintains that vitalism is a theory of life as opposed to time, his affirmationist interpretation simply perpetuates the idea that Deleuze satisfied himself with following whatever is the most deviant, the most subversive, and the most minor in philosophy, art, and politics on the basis that deviancy, subversiveness, and minority are desirable-in-themselves precisely because they are metaphysically guaranteed features of reality. On this view one affirms their becoming-minor and the subversiveness it entails simply because it accords to the higher metaphysical claim of life’s inherent creativity. That is to say, insofar as our aesthetic and political engagements exist as perfect copies of the metaphysical and vitalist principle of creativity, we can safely judge actions as aesthetically, ethically, and politically virtuous, or revolutionary. At this point we should pause to highlight at least 3 themes that are equivocated, which allow the affirmationist interpretation to function: vitalism, the affirmation of life as tantamount to the production of novelty, and the status of indeterminacy/indistinction as effected by cinema itself.

1. Vitalism

Deleuze’s ‘vitalism’ is not reducible to a theory about the inherent capacities of life as creative. Rather, it is a theory of the nature of time and time’s foundational relation to space. It is the problem posed by the nature of time, moreover, that is precisely what motivates Deleuze’s voyage into cinema. As he writes,

“Time is out of joint: Hamlet’s words signify that time is no longer subordinated to movement, but rather movement to time. It could be said that, in its own sphere, cinema has repeated the same experience, the same reversal, in more fast-moving circumstances…the post-war period has greatly increased the situation which we no longer know how to react to, in spaces which we no longer know how to describe…Even the body is no longer exactly what moves; subject of movement or the instrument of action, it becomes rather the developer of time, it shows time through its tiredness and waitings” (Cinema 2, p. xi).

The interpretation that sees a vitalism at work within Deleuze’s analysis of cinema is correct insofar as what is meant by vitalism is the problem posed by the nature of time to philosophy, art, politics, and science. It is for this reason that Bergson becomes an instructive thinker for Deleuze’s turn to cinema since what preoccupied Bergson, and what Deleuze finds at work in post-war cinema, is precisely the attempt to reverse the classical idea which thinks the reality of time as subordinate to, and dependent upon, the nature of space.

As Deleuze (following Bergson) makes clear the intelligibility of Life-in-itself is never grasped, as Aristotle thought, through the definition of time as the measure of movement in space; a definition which posits the essence and actuality of time as dependent upon space for its own existence. Thus, if time is not ontologically dependent on space as Bergson maintains; and if time is not reducible to the linear progression of the measure of movement; then this conception of time-itself requires a reconceptualization of the very lexicon of temporality: the past, present, and future. In Creative Evolution, Bergson gives his refutation of interpreting Life in terms of finality/final causes, and it is here where Bergson offers the means for a transvaluation of our temporal lexicon. On the ‘Finalist’ or teleological account of the reality of Time, the future finds its reality in the past and present, follows a certain order, and is guaranteed due to first principles. Thus, for the finalists, the future remains fixed and dependent upon the linear progression of time. For Bergson, the future is precisely that which does not depend on the linear progression of time for its own reality. In this way we can understand that for both Bergson and post-war cinema, the nature of time can no longer be understood as derivative of space as such.

Rather, time must now be thought as that which conditions the reality of movement and space. And this can be achieved in cinema, says Deleuze, precisely by doing something only cinema can do. That is, by film’s capacity to produce a disjunct between the visual and the audible aspects of film: “The relations…between what is seen and what is said, revitalize the problem [of time] and endow cinema with new powers for capturing time in the image” (C2, p. xiii). If the ‘vital’ creativity of cinema is fundamental for Deleuze’s understanding of cinema, it is the case only insofar as cinema provides us with the means to no longer think of time as subordinate to space but as the problem that motivates and determines space itself.  It for this reason that Deleuze will mark the shift from the movement-image to the time-image at the precise moment when cinema reformulated the problem posed to its filmic characters:

“if the major break comes at the end of the war, with neorealism, it’s precisely because neorealism registers the collapse of sensory-motor schemes: characters no longer “know” how to react to situations that are beyond them, too awful, or too beautiful, or insoluble…So a new type of character appears. But, more important, the possibility appears of temporalizing the cinematic image: pure time, a little bit of time in its pure form, rather than motion” (Negotiations, p. 59).

Thus, what motivates Deleuze to bring Bergson’s theorization of time to bear on cinema is precisely because what we discover (whether in Bergson or in cinema) is that time is both the object of Thought and cinema and the productive principle of any actualized and lived reality. Thus, the vitalist tendencies of Deleuze’s remarks on cinema should not be seen as a theorization of the creative powers of life. If vitalism is somehow a theory regarding what is principally creative within the world, it is not ‘Life’ but time-as-such that is creative. Moreover, what is produced by time-itself and cinema’s time-image is problematic in nature. Thus, not only is vitalism a theory about time (and not life); time-as-such does not produce something that can easily be judged as good or bad; virtuous or vicious. Rather, time produces problems for us; problems whose solutions can only be determined insofar as Thought and cinema pose the problem truthfully as opposed to preoccupying itself with false problems.

2. Novelty/Creativity

If Deleuze’s vitalism is a theory of time and the problem posed by Time for Thought and cinema, then the ‘creative powers’ attributed to this vitalism must also undergo redefinition. The interpretation of Deleuze’s aesthetic and political theory as one that seeks to adequate, in thought and praxis, Life’s inherent creativity and novelty fails to account for Deleuze’s anti-Platonism, where the relationship between models and copies is jettisoned for the relationship between simulacra and the Idea-problems to which they are indexed. As Deleuze writes in Difference and Repetition regarding the relationship between optimism and the relationship between Thought and its Ideas/problems:

“The famous phrase of the Contribution to the Critique of Political Economy, ‘mankind always sets itself only such tasks as it can solve’, does not mean that the problems are only apparent or that they are already solved, but, on the contrary, that the economic conditions of a problem determine or give rise to the manner in which it finds a solution within the framework of the real relations of the society. Not that the observer can draw the least optimism from this, for these ‘solutions’ may involve stupidity or cruelty, the horror of war or ‘the solution of the Jewish problem’. More precisely, the solution is always that which a society deserves or gives rise to as a consequence of the manner in which, given its real relations, it is able to pose the problems set within it and to it by the differential relations it incarnates” (Difference and Repetition, p. 186).

Thus, the idea of simply pursuing various lines of actualization vis-á-vis a specific set of Ideas/problems, thereby embodying the perfect copy of the creative potential of the problems posed to us by life itself, is seen as suspect by Deleuze himself if for no other reason than what is given to Thought in the Idea-Problem is every possible solution. Every possible solution includes, as seen in the passage above, both the horrors of fascism and the aspiration of social and political liberation.

If, as Patton encourages us to believe, Deleuze’s aesthetic/political theory simply amounts to affirming the novelty of life, we would commit ourselves to the position of accepting every solution to social and political problems. While it is true for Deleuze that Idea-problems pose every possible solution from the outset it is also the case that each possible solution to an Idea-problem can be actualized only on the condition that one solutions unfolding (explication) maintains an incompossible relation to all other solutions. Solutions to a problem, thus, are actualized according to their exclusive disjunction with an Idea-problems other possibilities. This thesis of incompossibility in regards to the relation between problems and their resolution is what is at stake when Deleuze writes:

“The I and the Self…are immediately characterised by functions of development or explication: not only do they experience qualities in general as already developed in the extensity of their system, but they tend to explicate or develop the world expressed by the other, either in order to participate in it or to deny it (I unravel the frightened face of the other, I either develop it into a frightening world the reality of which seizes me, or I denounce its unreality)” (DR, p. 260).

However, why have we said that Patton’s affirmationist interpretation reintroduces Platonism into Deleuze’s thought? For the following reason: once we understand that Deleuze’s vitalism is a theory of time and not a theory of life; and once we grasp that what time produces are Idea-problems prior to their resolution; the priority given to Idea-Problems by Deleuze can only be a priority of metaphysical and epistemic inquiry and not moral in character. Patton’s affirmationist interpretation, which takes Idea’s as a legislative-model for ethical, political, or aesthetic action reintroduces Platonism in the heart of Deleuze’s thought since the equation of metaphysics (Idea/model) with politics (claimant/copy) necessarily entails the logic of the good and bad copy, the true and false claimant. Patton’s reading reintroduces what is inessential to Ideas (moral criteria of judgment) back into their essence (qualitatively different claimants to an Idea), and thereby reduces what is truly creative for Thought (Problems) to something to be subjected to ready-made criteria (Image of Thought):

“This Platonic wish to exorcise simulacra is what entails the subjection of difference. For the model can be defined only by a positing of identity as the essence of the Same…and the copy by an affection of internal resemblance, the quality of the Similar…Plato inaugurates and initiates because he evolves within a theory of Ideas which will allow the deployment of representation. In his case, however, a moral motivation in all its purity is avowed: the will to eliminate simulacra or phantasms has no motivation apart from the moral” (DR, p. 265).

Thus, it is only by the confusion of the ontological and epistemic with the aesthetic and political, that Patton’s affirmationist reading reintroduces Plato’s moralism back into Deleuze’s philosophy of Difference.

3. Indeterminacy/Falsity

The third and final point regarding the status of indeterminacy/falsity in cinema as presented in the affirmationist approach can be seen in the following passage. For Patton, and regarding the status of normative gender roles in Sauve Qui Peut, Godard, “offers no solution to this dilemma of masculinity…Ultimately, this pessimism about the male condition is not only circumscribed but contrasted with an optimism about life, albeit a life which has become feminine…The result is an affective optimism and affirmation of life which attaches itself above all to images of women engaged in an active becoming of their own.” What is missing from Patton’s account, however, is the precise relationship between the indeterminacy of social norms as seen in Sauve Qui Peut as they relate to what cinema’s time-image achieves: namely, the power of falsity that reintroduces indeterminacy/indistinction (molecular) into that which remains determinate and distinct (molar). As Deleuze writes, “[T]he power of falsity is time itself, not because time has changing contents but because the form of time as becoming brings into question any formal model of truth” (N, p. 66).

Thus, if Godard resists resolving the dilemma of masculinity, it is not because there is no answer to the problem of hetero-patriarchy. Rather, it is because only by making the determinate/distinct into something indeterminate/indistinct that cinema moves beyond merely representing different solutions of a problem to the immediate presentation of the problem via the time-image. It is time (as the form of becoming) that creates the indistinct and undecidable character of the lived reality of hetero-patriarchy in Sauve Qui Peut; and Godard achieves this in cinema through a direct presentation of a problem over and against the presentation of its various solutions. Remarking upon this relationship between truth and falsity, indistinction and undecidability, Deleuze remarks,

“The real and the unreal are always distinct, but the distinction isn’t always discernible: you get falsity when the distinction between real and unreal becomes indiscernible. But, where there’s falsity, truth itself becomes undecidable. Falsity isn’t a mistake or confusion, but a power that makes truth undecidable” (N, p. 65-6).

The powers of the false; the immediate presentation of a problem; renders truth undecidable and the relation of the true and the false indiscernible precisely because this immediate presentation of a problem “brings into question any formal model of truth. This is what happens in the cinema of time” (N, p. 66). Just as the philosopher cannot hope for any optimism in their proper orientation toward Ideas, the filmmaker does not predict any certain or clear solution in their immediate presentation of a problem. For both philosopher and filmmaker, the true posing of Idea-problems troubles our ready-made models because, as Deleuze says of Godard in an interview, “the key thing is the questions Godard asks and the images he presents and a chance of the spectator feeling that notion of labor isn’t innocent, isn’t at all obvious.” Insofar as philosopher’s pose true problems and create concepts adequate to them; insofar as filmmakers present problems in their immediacy in terms of the time-image; each creates something which no longer allows others to treat ideas, concepts, or images as ready-made, neutral, and naturally given features of the world. The posing of true problems in thought and cinema is the genesis of a concept, or artwork, that disrupts our habituated modes of thinking, feeling, and approaching the world (i.e., the dogmatic image of thought). The power of falsification is cinema’s capacity to render what we take to be obvious, ready-made, or second nature as alien and no longer a fixed socio-political certainty. The powers of the false and a cinema of undecidability, then, are Godard’s means of effecting a becoming since he “brings into question any formal model of truth.”

So, if Sauve Qui Peut offers no solution to the problem posed by hetero-patriarchy and thus remains indeterminate; and if this problem reveals the condition of masculinity as being one that requires a becoming-woman; the indistinctness/undecidability of becoming-as-such is much more a counter-actualization rather than an actualization of a solution with respect to its problem. The main consequence of Patton’s equation between the (ontologically) True with the (ethically) Good or (politically) Just results in a case of misplaced concreteness; whereby Deleuze appears to valorize the simply extension/application of ontological truth into the realm of aesthetico-political activity. Here we find a Deleuze who would never have found troubling the moralism at the heart of Platonism; who never would have written that philosophers and filmmakers alike should follow the maxim that says “Don’t have just ideas, just have an idea (Godard).”

4. The Affirmationist Interpretation

Given what has been shown regarding the themes of vitalism, novelty/creativity, and ambiguity/falsity, we can summarize Patton’s affirmationist interpretation of Deleuze in the following manner: by treating vitalism as a theory of life and life’s inherent creative powers Patton proposes a Deleuzean ethics and politics whose fundamental aim is the application of metaphysical and epistemic principles (becoming-x, lines of flight, and so on) within the domains of art and politics. However, as we have seen, this interpretation reintroduces Platonism back into Deleuze’s strictly anti-Platonic thinking regarding the relationship between Ideas, the possible solutions they propose, and the thinkers relation to the two. It is for these reasons that he interprets ‘the creative powers life’ (Idea-problems) as ready-made criteria for the judgement between good and bad copies, between better or worse claimants to an Idea. Thus, on this reading of Deleuze, what is ‘True’ regarding the nature and structure of reality (inherent creativity of life) is also interpreted as what is ‘Good’ for individual and social life. And it is on this basis that Patton can claim that the essence of Deleuze’s political commitments can be summarized as a repudiation of anything that inhibits modes maximization of movement and creative powers.

Hence our nomination of Patton’s reading of Deleuze as Platonic by nature – when the True is also the Good we should know that we are not far from discovering a Plato in our midst. Additionally, even at the moment when Patton’s reading seems to gain most support from his analysis of gender roles within Godard’s film his proposal of a becoming-woman at the heart of a perceived pessimism regarding young men (while true) remains at the level of the most basic generality. In other words, lines-of-flight may give us insight into the available means for the subversion of power or the escape from control, but lines-of-flight are not inherently revolutionary. And it is this principle – that lines-of-flight, deterritorialization, smooth space are not inherently revolutionary – that Patton’s analysis leaves out. As Deleuze and Guattari constantly remind us, “smooth spaces are not in themselves liberatory” (A Thousand Plateaus, p. 500).

Thus, our suspicion of Patton’s interpretation stems from the claim that Deleuze’s preoccupation with Idea-problems is not simply a continuation of their Platonic ancestors.  On this affirmationist/Platonist interpretation, Deleuze appears to locate the creativity and novelty of art (and Godard’s cinema in particular) at the register of the cinematic representation of specific concepts (lines of flight, becoming-woman, becoming-minor). It is in this way that Patton reads the pessimism which Godard expresses regarding gender roles as a mere pretext for the redemptive theme of becoming-woman. And it is precisely the cinematic representation of the redeeming theme of becoming-woman that Patton takes to be Deleuze’s own prescription of an ethico-politico-aesthetics that can be adequately summarized as an “affective optimism and affirmation of life.” However, if philosophy and cinema are creative insofar as they can pose a problem correctly (falsification), an optimism or affirmation of life does not follow necessarily since it is precisely the distinction and determination of truth and falsity, the real and the unreal, that is rendered undecidable by problems themselves. The activity of philosophy and filmmaking follows a different outcome, whereby each individual cannot draw the least amount of optimism from solutions of the problem, since as Deleuze continuously reminds us, the solutions of a problem may involve stupidity or cruelty, the horror of war or ‘the solution of the Jewish problem.’

Bergsonian Science-Fiction: Deleuze, Eshun, and Thinking the Reality of Time


“To be more precise, science fiction is neither forward-looking nor utopian. Rather, in William Gibson’s phrase, science fiction is a means through which to preprogram the present […] Science fiction operates through the power of falsification, the drive to rewrite reality, and the will to deny plausibility, while the scenario operates through the control and prediction of plausible alternative tomorrows.”

– Kodwo Eshun, ‘Further Considerations on Afrofuturism’

“A book of philosophy should be in part a very particular species of detective novel, in part a kind of science fiction…What this book should therefore have made apparent is the advent of a coherence which is no more our own, that of mankind, than that of God or the world. In this sense, it should have been an apocalyptic book (the third time in the series of times).”

– Gilles Deleuze, Difference and Repetition

This short essay aims to draw a single connection, along the theme of time, between Kodwo Eshun, Gilles Deleuze, via their shared Bergsonian premises. To do this, we will begin with Bergson’s account of the correct and misguided ways of understanding the structure and nature of Time in and of itself. Additionally, we’ll see how there is an implicit connection between Deleuze’s remarks in Difference and Repetition regarding the ‘powers of the false,’ simulacra, and the constitution of time as being ‘out of joint’ in Deleuze’s Third Synthesis, with Eshun’s description of Afrofuturism and its relationship to dramatization, the exaggeration of features of the present to contest the present, and so forth.

Thus, we begin with their shared Bergsonian premises regarding the individual, historical, and metaphysical aspects of temporality in order illustrate that the primary illusion, which we must disabuse ourselves of in order to grasp the philosophical and political import of the reality of Time, is the assumption that Kodwo Eshun’s Afrofuturism and Deleuze’s philosophy of Difference remain preoccupied with the future as such; with novelty and the accelerated proliferation of differences for their own sake.

I). Bergson – Geometrical vs. Vital Time

For Bergson the problem that we face in understanding Life, duration, etc., is imposing what he called the ‘geometric’ order onto the ‘vital’ order of Life (cf. Creative Evolution). Bergson maintains that the intelligibility of Life-itself is never grasped, as Aristotle thought, through the assumption that time is the measure of movement in space, and thus asserting that the nature and existence of Time depends on the nature and existence of Space for its own reality. If Time is not ontologically dependent on space; and if time is not reducible to the linear progression of the measure of movement; then this conception of Time-itself requires us to reconceptualize the very lexicon of temporality: the past, present, and future.

In Creative Evolution, Bergson gives his refutation of interpreting Life in terms of finality/final causes. Here, Bergson offers the means for a transvaluation of our temporal lexicon. On the ‘Finalist’ account, the future finds its reality in the past and present, follows a certain order, and is guaranteed due to first principles. Thus, for the finalists, the future remains fixed and dependent upon the linear progression of time.For Bergson (as it is for Deleuze and Eshun, as we will see), the future is precisely that which does not depend on the linear progression of time for its own reality.

From the ‘vitalist’ perspective (contra the finalists), Bergson writes, “we see…that which subsists of the direct movement in the inverted movement, a reality which is making itself in a reality which is unmaking itself…” (CE, 248). Just as the epigraph of Eshun’s notes that Afrofuturism was never concerned with the future as such but with the relation between the alternate futures the present world makes possible; and just as Deleuze notes that the science fiction aspects of a ‘good’ book mirror his reading of Nietzsche’s untimeliness as wresting from the present a future which does not repeat the violence of the past and present; Bergson could be seen here as giving this vital theorization of Time in its most ‘pure’ or theoretical way. The vital, as opposed to geometric, comprehension of the reality and structure of time supplants its linear definition (that renders the future as pre-determined and existentially dependent upon the iron laws of the past) with an understanding of the mutual conditioning of the ‘is not/no longer’ of the past and the ‘immediate past/immediate future’ of the present as the means by which multiple (and virtual) futures are prized from the reality of Time by the nature and structure of Time-as-such. 

II). Deleuze’s Third Synthesis of Time & Eshun’s Afrofuturism

Thus, when Deleuze offers his Third and final Synthesis of Time; the ‘static and ordinal’ synthesis where time exists ‘out of joint’ and thus gives a new order/meaning to how we understand time cosmologically, historically, cultural, and individually; what constitutes Time’s ‘out-of-jointness’ is precisely this revaluation of the past, present, and future understood on the finalist/linear/geometrical conception of time (as measure of movement) where what is understood is that time’s ontological existence; time as it exists independent of human agency; has no concern for the future.

For Deleuze, the temporal development of life taken in its broadest sense does not care about the preservation of species or even the preservation of its own natural processes. Time, as it is constituted by Life itself, must be understood as continuously producing various possible futures that are left up to the contingency of the other evolutionary, biological, chemical, etc., processes of Life itself. We might say that Time understood in this (vitalist) manner means that Life is the continual superabundance of an excess that Life can neither control nor wants to control (here, we should note that it is Deleuze who gets furthest from anthropomorphizing Life, the will to power, etc., and understands life in terms of the impersonal conditions of human existence as such, in contrast to the key thinkers he draws on for this synthesis-namely, Nietzsche and Bergson). It is the vitalist, according to Deleuze, who gives us access to Differences-themselves in their free and untamed state.

Thus, the Third Synthesis of Time as engendering time as out-of-joint and constitutes the ‘dissolved Self’ as one who acts against one’s time, can be seen through Eshun’s idea of science fiction’s activity as one of capitalizing on the ‘powers of falsification, the drive to rewrite reality, and the will to deny plausibility;’ against one’s time and, in the hope of a time to-come. Now, this future ‘to-come’ cannot be understood as utopian (in the pejorative sense) or an appeal to some variation of Messianic-time. Here, Eshun’s clarity is useful:

“it would be naïve to understand science fiction, located within the expanded field of the futures industry, as merely prediction into the far future, or as a utopian project for imagining alternative social realities. Science fiction might better be understood, in Samuel R. Delany’s statement, as offering “a significant distortion of the present.” To be more precise, science fiction is neither forward-looking nor utopian. Rather, in William Gibson’s phrase, science fiction is a means through which to preprogram the present. Looking back at the genre, it becomes apparent that science fiction was never concerned with the future, but rather with engineering feedback between its preferred future and its becoming present” (‘Further Considerations,’ 290).

The future as conceived by Deleuze and Eshun is incommensurable with, and the exact opposite of, either Utopian or Messianic time; these latter two conceptions of a future-to-come locate the determining temporal factor in the future while Deleuze and Eshun, following Bergson, locate the element that determines and actualizes a future as the relationship between the past and the present.

III). Possible Conclusions//Possible Futures

In What is Philosophy? Deleuze and Guattari define philosophy as the creation of concepts; an activity that requires the engendering of Thought in a subject, in order for that thinking-subject to fabricate a concept that is adequate to the Idea-Problem of their time. It is this tripartite criteria – Thinking; (posing) Problems; and (creating) Concepts – given by Deleuze (and Guattari) for the genesis and constitution of the praxis of philosophy that was already formulated in Difference and Repetition:

The famous phrase of the Contribution to the Critique of Political Economy, ‘mankind always sets itself only such tasks as it can solve’, does not mean that the problems are only apparent or that they are already solved, but, on the contrary, that the economic conditions of a problem determine or give rise to the manner in which it finds a solution within the framework of the real relations of the society. Not that the observer can draw the least optimism from this, for these ‘solutions’ may involved stupidity or cruelty, the horror of war or ‘the solution of the Jewish problem’. More precisely, the solution is always that which a society deserves or gives rise to as a consequence of the manner in which, given its real relations, it is able to pose the problems set within it and to it by the differential relations it incarnates” (DR, 186).

What is significant regarding the equation ‘philosophy = concept creation,’ and the subsequent annihilation of any guarantee that the thinking-subject will be rewarded with optimism in their search for truth, is that these three elements that constitute the practice of Philosophy do not operate according to the linear/finalist conception of temporality.

That is, the thinker cannot hope for any optimism insofar as they are thinking precisely because what is given in a thought that adequately poses problems and creates concepts are the multiple solutions, or futures, that are harbored within every problem posed and concept created. Thus, philosophy properly understood according to Deleuze stands against the linear conception of time, where the reality of the future is fixed and furnished by the internal and originary principles of the past. And among his generation (though it perhaps needs no emphasis) it is Deleuze who takes the Bergsonian injunction with the most seriousness and gravity; the assertion that we must do violence to our habituated forms of cognition (Identity, Recognition, Reflection, Analogy) in order to sinew the order of philosophical practice to an actualized overcoming of the all-too-human qualities of our present.  As Bergson writes,

The duty of philosophy should be to intervene here actively, to examine the living without any reservation as to practical utility, by freeing itself from forms and habits that are strictly intellectual. Its own special project is to speculate, that is to say, to see; its attitude toward the living should not be that of science, which aims only at action, and which, being able to act only by means of inert matter, presents itself to the rest of reality in this single respect” (CE, 196).

And it is precisely through this Bergsonian theoretico-practical operation we apprehend a Deleuzean and Eshunian transvaluation of the time proper to the human. For the former, the overcoming of humanity means freeing oneself from the bad habits of cognition that we have been socialized into taking as synonymous with Thinking as such. For the latter, the overcoming of humanity means freeing oneself from the ongoing effects of the determination and construction of a global future that continues to exclude ever growing swaths of humanity; a logic already present the past of human history. To free oneself from what we have been acculturated to identify as philosophy (thought as commensurate with the aims of either the Church, the State, or Capitalist Democracy) and from the repetition of a Future than is the exacerbation of the past; this would be sufficient to throw time out of joint and to construct a ground from which a new ordering of time becomes possible.

Thus, philosophical activity (Deleuze) and Afrofuturism (Eshun) aren’t simply against their own socio-historical situatedness, or concerned with the future for its own sake. As we saw with Bergson in terms of Life, and as we apprehend implicitly in Eshun, we are not concerned with the theorization and determination of time because time (Life, History) has a concern for itself and its future. To the contrary: it is precisely because the past and the present, taken in themselves, have neither a concern for their own future nor the future of human existence that a thought and politics of the future is not one that is infatuated and enamored with the blind and intensifying processes of our present.

The Third Synthesis of Time is the science-fiction moment in Difference and Repetition, the books ‘apocalyptic’ moment when the I and Self are both fractured and dissolved in the reordering of Time; it’s what Eshun talks about when he says that sci-fi was never really about the future in the first place. To merely be ‘about the future’… such an interpretation is only possible if we take the reality of time to be founded upon the reality of space; a perspectival-position that revokes any philosophical and/or political potential for the existence of multiple futures within a single future-time from the current present of terrestrial life defined by its terrestrially instantiated death-drive.

A Baroque Heresy: Notes on Deleuze and Leibniz on the Concept


“The other who is nobody…the a priori Other is defined in each system by its expressive value – in other words, its implicit and enveloping value […] The I and the Self, by contrast, are immediately characterised by functions of development or explication: not only do they experience qualities in general as already developed in the extensity of their system, but they tend to explicate or develop the world expressed by the other, either in order to participate in it or deny it. – Deleuze, Difference and Repetition, 260

The Other, as outlined in What is Philosophy? is understood as a living social relation that is also the condition for the possibility of Thought and the genesis of Concepts. Unlike the Ancient Greek conceptual personae of the friend, it is the other that serves as Deleuze and Guattari’s conceptual personae; as the condition for their own creation of concepts.

What this means, however, is that the condition for the creation of concepts (the condition that makes philosophy a real possibility) is one where the knowing-subject, the ‘philosopher,’ is in an asymmetrical relationship to their conditions. The asymmetry of socio-economic power is the true grounds for philosophy defined as concept creation – and it is for this reason that D&G’s conservatism manifests when they claim that it is only with the Greek city (and neither Empire nor State) that philosophy is born; since it is the City which constitutes the norm of social relations as one that is agonistic and agonistic because to be a citizen of Athens means to be free and equal to others and thus free to lay claim to what potentially belongs to others (property, civic office, etc.). So, if the Other is the contemporary manifestation of the friend in Athenian democracy, it is precisely because the other-as-expression-of-possible-world orientates thinking and acting in the world towards the actualization or integration of a world that exists as asymmetrical, hostile, and fundamentally opposed to the present order of things. But, we may ask, why do Deleuze and Guattari pay homage to Leibniz in their discourse on the Other? As they write, “Obviously, every concept has a history. This concept of the other person goes back to Leibniz, to his possible worlds and to the monad as the expression of the world” (WIP, 17).

If the Other stands in an asymmetry with the I and the Self, with the present order of things, and so forth, then the genesis of concepts on the basis of the possible world expressed by the Other means the creation of a concept that pays homage to Leibniz’s God but also signals its death. Where Leibniz argues for God’s productivity as nothing but following from the order he bestowed upon the best of all possible worlds, as seen in the example in the epigraph that hints toward the calculus, D&G find an instance of praise and suspicion. Praise, insofar as Leibniz has succeeded in creating the concept that pertains to the mathematical means of dealing with probability, modality, and the distribution of chance. That is, Leibniz’s monadology attests to Deleuze and Guattari’s definition of the concept, since the concept of the monad demonstrates the real content of concepts themselves: “the concept’s components are neither constants nor variables but pure and simple variations ordered according to their neighborhood. They are processual, modular…The concept is in a state of survey in relation to its components, endlessly traversing them according to an order without distance…It does not have spatiotemporal coordinates, only intensive ordinates” (WIP, 21). Insofar as Leibniz gave clear expression to the concept understood as the conjunction of heterogenous elements that have an internal consistency with each other, the history of the concept belongs to Leibniz.

However, suspicion arises, since Leibniz only gave expression, or only generated the properly cybernetic concept: everything is ordered, logically related, no matter how different and distant. It is Leibniz’s God that acts as metaphysical guarantee for the best of all possible worlds; one ensured with order, stability, intelligibility, and transparency to the philosophical-subject. Leibniz’s God achieves universal order only because it acts as the cybernetic control/regulation of the social conditions under which the creation of concepts is possible. Given this hypothesis of a logical/conceptual filiation between cybernetic and Leibniz’s thought we should remind ourselves of Deleuze’s remark

“You wonder if we can understand this socially and politically. Certainly, and the baroque was itself linked to a political system, a new conception of politics. The move toward replacing the system of a window and a world outside with one of a computer screen in a closed room is something that’s taking place in our social life: we read the world more than we see it […] Leibniz…makes Harmony a basic concept. He makes philosophy the production of harmonies.” (‘On Leibniz‘, p.157-63).

It is this element of Leibniz’s thought that Deleuze seeks to expiate, since the cybernetic impulses of Leibniz, with its production of harmony and order, are commensurate with the cyberneticians task – “fight the general entropy threatening living beings, machines, and societies” (Cybernetic Hypothesis, p. 12). The metaphysical guarantee of the best of all possible worlds is simple the cybernetic task of capturing the lines of flight that define any social organization. Thus, if the history of the concept begins with Leibniz, the fate of this history is a future where the genesis of concepts vis-a-vis the Other is only possible insofar as philosophy combats the logic of the best of all possible worlds wherever it manifests.

At this point we would not be wrong to see a heresy at work; a heretical Leibniz that prefigures the harmony of cybernetic governance. Heresy, speaking etymologically, signifies the activity of choosing, of a choice made, and within its religious context, a choice made regarding the interpretation of a religious text. Thus, a heretic exists wherever an unorthodox interpretation is being presented. If there is something heretical about Deleuze it is the following claim: life is only possible on the basis of a heresy; the heresy of engendering a death of God within the thought of Leibniz in order to wrest the future of the concept from its history – in order to effectuate a becoming of the concept as opposed to a brute repetition of its history and application. This heresy takes place in the crypt, in the opaqueness and obscurity that it engenders for thought and as antithetical to the clarity, distinctness, and transparency of the cybernetic ordering of Leibniz’s God. The Baroque heresy is the retention of the concept understood as grasping nothing other than ‘pure and simple variations ordered according to their neighborhood’ (WIP, 20), while simultaneously understanding that the concept admits no metaphysical guarantee of pre-established harmony. 

The baroque heresy of Deleuze installs itself at the moment where the genesis of concepts no longer simply means the apprehension of the immanent and non-teleological ordering of the variations that characterize a given society; additionally, the baroque element of Deleuze means that what the cybernetic ordering of society obliges for thought and politics is the development, determination, and conditioning, of the problem of control by way of the concept of what is opaque, obscure, secretive, and hidden. It is also for this reason that Deleuze has bones to pick with the affirmationist Deleuzeans. Deleuze never wanted us to affirm the world of difference-itself for its own sake; only in order to grasp the image of thought and the dogma that threatens every attempt we make to create concepts. Deleuze never wanted to affirm joyous encounters for their own sake; only to combat historical and political conditions that maintain a people in conditions of sadness. Thus, any ‘Deleuzean’ politics, or ethics, or aesthetics, fails at the moment that it hypostatizes affirmation of difference, and of joyous affects, as the heart of Deleuze’s transcendental materialism.

The heresy of Deleuze, which obliges us to think and develop a concept of the obscure, opaque, and secretive, allows us to understand why societies are defined by what flees them and not by their contradictions; or why Deleuze’s work exhibits an unwavering commitment to the necessity of understanding and developing difference-itself understood as the asymmetrical relation between the present world and the possible world expressed by the Other. That is, the baroque heresy of Deleuze allows us to  understand that it is neither affirmation of difference or joy that is important for thought and politics. Rather, Deleuze forces us to comprehend that it is only escape, becoming, evading capture, and introducing a bit of disorder into the world, that thought, philosophy, and politics wrests back ideas of liberation and revolution to which the canon has laid claim. The heresy of Deleuze can be called abolition, a fugitive thought, or the buggery of Leibniz. In any event, it is clear that the Leibniz and the baroque of Deleuze demonstrates the necessity of destroying the world that is implied in any development/explication of the possible world expressed by the Other person.

It is clear by now that to combat this cybernetic-Leibnizianism that develops the world as transparent, clear, and distinctive we must engage in the heresy of the opaque, the obscure, and the secretive. From this, one additional implication exists for the legacy of humanism – since it is the discourse of humanism that is married to the political discourse of the best of all possible worlds at the beginning of the 1990’s and begins at least as early as the thought of Feuerbach:

“Feuerbach calls out to Humanity. He tears the veils from universal History, destroys myths and lies, uncovers the truth of man and restores it to him. The fullness of time has come. Humanity is pregnant of its own being. Let men at last become conscious of this, and they will be in reality what they are in truth: free, equal, and fraternal beings.”

Through the Other, with the explication of its possible world that requires the destruction of the world of the I and the Self (thus producing what Deleuze calls the ‘fractured I’ and ‘dissolved Self’), this vision of humanism gains in reality insofar as it immolates itself on its actualization. That is, Deleuze’s anti-humanism, just as its heretical Leibnizianism, raises the relationship between philosopher and Other to the level of political and social analysis. Thus, Humanism does not signal the reconciliation of humanity with itself but the continuation of the cybernetic integration of humanity with Leibnizian metaphysics. It is for this reason that the heresy of Deleuze obliges us to develop a Baroque Humanism – a humanism that develops the possible world signaled by the Other, which destroys ours, and thus effectuates the equation ‘I is an Other.’ This formula, which belongs to Rimbaud, is what orthodox humanism claims while it never achieves and is the formulation that Deleuze’s heresy makes a living reality for thought itself. “For it is not the other which is another I, but the I which is an other, a fractured I” (DR, 261).


The War Machine Is Not Your Friend: Notes on Minoritarian Politics

black mirror

(Part II of an ongoing project on Clastres, D&G, and revolutionary politics. Additionally, I am indebted to Andrew Culp for the formulation that serves as the introductory section title for this post.)

/0/. The Most Savage Fruit of Alienation

Despite the revolutionary promise of the nomadic war machines relation to the State, Deleuze and Guattari are quick to note that “…the present situation is highly discouraging. We have watched the war machine grow stronger and stronger…we have seen it assign it as its objective a peace still more terrifying than fascist death…” What happened, then, in this long history of the struggle between nomadic war machines and State societies, that solicits the caution of our schizo-philosophers? Quite straightforwardly, it is the construction of the capitalist world market; the emergence of which confronts the nomadic war machine as its most formidable enemy precisely because both the nomad and Capital seek to weaponize the processes of deterritorialization and their lines of flight to effectuate a truly destratified circulation of political sovereignty and economic power. If globally integrated capitalism constitutes one kind of war machine insofar as its moments of reterritorialization fall back onto a more fundamental process of deterritorialization this is due to the capitalist transformation of the function of the State as an apparatus of capture:

“To the extent that capitalism constitutes an axiomatic (production for the market), all States and all social formations tend to become isomorphic in their capacity as models of realization: there is but one centered world market, the capitalist one, in which even the so-called socialist countries participate. Worldwide organization thus ceases to pass “between” heterogenous formations since it assures the isomorphy of those formations. But it would be wrong to confuse isomorphy with homogeneity. For one thing, isomorphy allows and even incites, a great heterogeneity among States (democratic, totalitarian, and especially, “socialist” States are not facades) […] When international organization becomes the capitalist axiomatic, it continues to imply a heterogeneity of social formations, it gives rise to and organizes its “Third World”” (ATP, 436-7).

It is here that we see the similarity and difference between the nomadic war machine and capitalism as a worldwide organization of society: namely, the pure war effectuated by nomadic societies is doubled in the pure war effectuated by the capitalist axiomatic of production for the market. Thus, in both instances, the defining tendency of nomadic and capitalist society is one which seeks to retain the qualitative differences that define particular social groups (or, for capitalism, different nation-States). However, capitalism appears as the perfect double of the nomadic war machine in that it has found an other mode for the distribution and circulation of political sovereignty and economic resources that no longer relies on returning the fruits of Capital to the interests of Labor.

Thus, if it was the case with those societies against the State that sovereign power was continuously distributed to avoid its accumulation in the hands of a single individual and the abundance of resources was expended for benefit the group as a whole; the axiomatic of capital (production for the market) supplants and modifies the anti-State forms of sovereign power. Now it is capital that functions as the sovereign insofar as it is the axiomatic of the market that determines how resources, value, and commodities are distributed, and requires a continuous kind of warfare in the form of primitive accumulation for the infinite expansion of capital. In other words, the objective tendency of a deterritorialization that only reterritorializes on itself which defines the nomadic war machine as such, is actualized in both nomadic groups and capitalism where each actualization presents a means of organizing society, where one actualization necessarily excludes the other: either social relations are nomadically-mediated phenomena, or social relations are market-mediated phenomena. Thus, if it is the case that in non-State societies every kind of relation found therein is mediated by the nomadic-collective interest of the group considered as a whole; it is with the existence of globally integrated capitalism and its appropriation of the war machine that all hitherto existing relations in society are now mediated by the axiomatic (or principles) of the market as such.

And if only to add insult to injury, as Deleuze and Guattari mentioned in the previous passage, the capitalist world market affords nation-States a certain heterogeneous existence and simply requires their isomorphy in their adherence to the capitalist axiomatic as sovereign power and as economic interest. Thus if it was the aim of ‘societies against the State’ to ward off various forms of instantiated divisions within their social group (‘to forbid alienation’), Capital abides by the wishes of non-State societies since political and economic power has moved elsewhere.

To merely be against the State now appears as the most savage fruit of alienation under globally integrated capital since the restitution of political and economic power can no longer simply be achieved within, and/or against, the nation-State itself. It is for these reasons that Deleuze and Guattari will define two kinds of war machines. One the one hand, we have the capitalist world-war machine that makes war its object through the continuation of primitive accumulation; even to the extent that the perpetual war required at the level of anti-State societies is equated with a globalized perpetual peace (via phenomena such as the ‘war on terror’). On the other hand, there is the nomadic war machine that encounters war only as its supplement in the midst of its overall project of constructing a smooth space in order to avoid moments of capture, which function according to sovereign-Faciality; and to avoid the ossification of political power which produces a veritable fascism, whether internal or external to social formations as such. Thus, and with emergence of the world wide ecumenical machine of capitalism, it is no longer simply the State that imposes itself upon anti-State social groups in the same way that the Organism imposes a certain order and appropriates the capacities of its organs; now it is Capital as worldwide axiomatic that imposes itself as the Organism that gives a specific order to States and non-State social formations alike.

At this juncture we need to recall that what Deleuze and Guattari find of merit in Clastres’ attempts to overcome the eurocentric blindspots internal to various anthropological frameworks, they also find a certain limit to his thinking. Namely, Clastres’ account of societies against State-capture fails at the moment it would need to provide an analysis of how the State emerged in contrast to non-State societies. The war machine that was discovered in Clastres’ research and the war machine that is appropriated by Deleuze and Guattari undergoes a transformation. No longer is war simply the instance of conflict between State and non-State groups (this conflict is rather one instantiation of the absolute and unconditioned Idea of war itself). Rather, war is understood as the more general, and objective, tendential process that defines any social organization. As Deleuze mentions in his interview with Negri, “we think any society is defined not so much by its contradictions as by its lines of flight, it flees all over the place, and it’s very interesting to try and follow the lines of flight taking shape at some particular moment or other”(Negotiations, p. 171). In other words, what is definitive of societies are what flees from their centers of capture and processes of assimilation/normalization prior to any talk of the contradictions between the forces and means of production, for instance. In other words, what defines social formations and produces contradiction only as its consequence are the ways in which any ordering of society is subject to individuals, resources, processes, etc., that fail to be exhaustively incorporated into the dominant social order.

Thus, if the orthodox Marxist continues to proclaim that the history of all hitherto society is the history of class struggle, Deleuze and Guattari reply that the history of all hitherto societies is the negotiation of that which can and cannot be adequately incorporated, captured, normalized, and adjusted toward the ends of the political and economic order. And within their universal history of apparati of capture and lines of flight, Capitalism emerges as a monstrous hybrid between the nomadic distribution of sovereignty and economic abundance characteristic of non-State societies and the colonial and imperial war machine in order to maintain worldwide hegemony. That is, what Capital takes from the nomad is the nomads aptitude for constructing a Body without Organs where there is a continuous circulation of political and economic power while at the same time marrying the nomadic BwO to the order imposed on the organs by the Organism of State-capture. It is at this point in their analysis of Capital that it is worth highlighting their agreement with Marx’s characterization of the relationship between Labor and Capital in the Grundrisse. As Marx writes,

“The production process has ceased to be a labour process in the sense of a process dominated by labour as its governing unity. Labour appears, rather, merely as a conscious organ, scattered among the individual living workers at numerous points of the mechanical system […] In machinery, knowledge appears as alien, external to him; and living labour [as] subsumed under self-activating objectified labour” (Grundrisse, 693-5) 

In DeleuzoGuattarian terms, Capital is peculiar since it is a BwO that acts upon its organs in ways that are similar to the subjugation inflicted by the Organism. It is due to this peculiarity that they write, in a more sober moment, that the war machine has grown stronger only to produce something more terrifying than fascist death: namely, the world war machine of which Capital constructs a BwO that allows the flow and circulation of all of its elements in a productive manner while the very same BwO exploits the productive capacities of its organs for ends other than those elements that constitute the BwO as such.

Thus, and given this relationship between labor-as-organ of capitalism’s worldwide Organism, we can reasonably wonder if, on this account of the relationship between nomadism and capitalism, there is some significant difference between Deleuze and Guattari’s concept of the Nomad and Marx’s concept of Labor. That is, can we justifiably equate this concept of the nomad with the Marxian concept of Labor? Additionally, if Deleuze and Guattari want to remain Marxists, we must also ask if they simply appropriate Marx’s understanding of Labor wholesale or if Deleuze and Guattari offer a transformation of the social antagonism as first schematized by Marx himself?

/1/. A Revolutionizing Tendency IS NOT A Revolutionary Praxis

While it may appear as if there is little to no significant difference between the nomad and Labor, it is important to understand that the difference between labor and the nomadic war machine is the difference between Labor, which is understood as the organization of a people along certain lines of flight or certain points of tension within capitalism itself, while the nomadic war machine is simply one of the objective tendencies that defines social formations under specific socio-determinate conditions. Thus, contrary to the apparent identity between the nomad and Labor, we can neither equate Labor nor Capital with the nomadic war machine itself. Rather, Labor and Capital are two qualitatively different attempts to utilize, organize, and weaponize those tendential processes of global society that either seek to push Capital to the point of its radical transformation and towards the realization of global communism; or to continuously establish more axioms that temporarily resolve the crises of Capital through its organs that perpetuate capital’s realization of value (legal, juridical, military, political, etc.).

It is for this reason that Deleuze and Guattari write, “[T]he question is therefore less the realization of war than the appropriation of the war machine” (ATP, 420). Thus the question of the nomad’s relationship to Labor is not a question that seeks to establish their essential identity. Rather, the question posed by the nomadic war machine, understood as the various tendencies of deterritorialization within a given social formation, is a socio-economic problem that is posed to both Labor and Capital; where both Labor and Capital are two ways of resolving the socio-economic problems posed to a given society and thus involve qualitatively different appropriations of the nomadic war machine as such.

Thus, there is an important difference between the revolutionary potential of those nomadic tendencies that push social formations toward points of structural transformation and the subsequent politics that ensues given how social formations make use of the variable processes of deterritorialization. Namely, the revolutionary organization of Labor over and against Capital is not simply one of capitalism’s ‘revolutionizing tendencies’ that force capital’s ever growing expansion across the globe. Rather, it is the means by which Labor uses the lines of flight that define capitalist society as the grounds for the abolition of capital itself; in other words, what is definitive of revolutionary politics on the one hand, cannot be equated to the revolutionizing tendencies of the capitalist mode of production, on the other. Thus, if one is to search for a term that serves the same function as Marx’s concept of Labor; and if one acknowledges the difference in kind between the revolutionizing tendencies of capitalism and  revolutionary politics; one would do better in finding something akin to Labor in Deleuze and Guattari’s notion of the minor/minoritarian. As they write:

“The power of minority, of particularity, finds its figure or its universal consciousness in the proletariat…We have often seen capitalism maintain and organize inviable States, according to its needs, and for the precise purpose of crushing minorities. The minorities issue is instead that of smashing capitalism, of redefining socialism, of constituting a war machine capable of countering the world war machine by other means” (ATP, 472).

Thus, against this common misconception that Deleuze and Guattari privilege deterritorialization for-itself prior to any concrete determination of how society should be globally arranged, what is truly revolutionary according to our authors and what social position in contemporary capitalism possesses the revolutionary force that Marx identified in the relation of Labor to Capital at the end of the 19th century, is the manner by which various social groups engage with the revolutionizing tendencies of capital in order to construct a revolutionary political praxis. On this point of difference between tendencies and political praxis, Nicholas Thoburn provides us with one of the clearest formulation of the stakes and nuances of Deleuze and Guattari’s relationship to Marx’s concept of Labor and their use of the category of minor/minoritarian. As he writes, what is revolutionary is how the exploited subjects of Capital collectively

engage with the ‘objective’ lines of flight immanent to the social system […] For Marx and Deleuze and Guattari, capitalism is a radically transformative social system that is premised on lines of flight; it was born through a new means of mobilizing and conjoining flows of money and flows of labour. The essence of capital is that it continually sets free its lines of flight – its made scientists, its countercultures, its warmongers – in order to open new territories for exploitation. It is thus a perpetual process of setting and break limits. Politics is not an assertion of a class or minority identity, but is a process of engagement with these ‘objective’ lines of flight. Inasmuch as an assemblage ‘works’ in a social system, its lines of flight are functional to it – they are not in themselves revolutionary. Politics thus seeks to engage with these flows (of people, ideas, relations, and machines in mutual interrelation) and, in a sense, push them further or take them elsewhere, against their immanent reterritorialization in fashions functional to the realization of surplus value. This is why for Marx the communist movement needs to follow a path through the flows of capitalism, not oppose an identity to it, and why Deleuze and Guattari suggest that minorities do not so much create lines of flight, as attach themselves to them (cf. Deleuze and Parnet 1987: 43)” (Deleuze, Marx and Politics, p.29)

The Tragic Community: Nietzsche and Philosophy as A Treatise on Politics (Part II)

“When someone asks “what’s the use of philosophy?” the reply must be aggressive, since the question tries to be ironic and caustic. Philosophy does not serve the State or the Church, who have other concerns. It serves no established power. The use of philosophy is to sadden. A philosophy that saddens no one, that annoys no one, is not a philosophy. It is useful for harming stupidity, for turning stupidity into something shameful. Its only use is the exposure of all forms of baseness of thought. Is there any discipline apart from philosophy that sets out to criticise all mystifications, whatever their source and aim, to expose all the fictions without which reactive forces would not prevail?” (NP, 108)

Philosophy’s function, according to Deleuze, is “to sadden” or better, to be unforgivingly critical of reactive forces. Through this unforgiving critique, philosophy seeks to demystify, destroy, debase, deconstruct, etc., all established (reactive) values and in this way Deleuze claims “This is why philosophy has an essential relation to time: it is always against its time, critique of the present world. The philosopher creates concepts that are untimely and not of the present.”(NP, 107) To think actively (Philosopher) is “acting in a non-present fashion therefore against time and even on time, in favor (I hope) of a time to come.”(NP, 107) Thus a new conception of philosophy and thought arises: the thinking of Culture instead of the thought of Method.

“Method always presupposes the good will of the thinker, “a premeditated decision.” Culture, on the contrary, is a violence undergone by thought, a process of formation of thought through the action of selective forces, a training which brings the whole unconscious of the thinker into play.” (108) Deleuze’s critique of Method is the critique of the “ready-made” theory. To use Method thus means one is not thinking, since Deleuze understands Thinking as an immanent process. That is to say, “Thinking depends on forces which take hold of thought.”(108) To think actively and affirmatively, one must be able to take stock of those active forces which constitute one’s life, understanding, etc. Thinking entails a certain genetic element which “determines the relation of force and qualifies related forces.”

This genetic element is similar to the will to power where will=joy/creation, and power is the differential force in a will. Thus Deleuze says, “The thinker thus expresses the noble affinity of thought and life: life making thought active, thought making life affirmative. In Nietzsche this general affinity is…the essence of art.” (NP, 101) And who are the artists? “We the artists” = “we the inventors of new possibilities of life.” (NP, 103) This is one way to understand Deleuze when he says “the theory of forces depends on a typology of forces. And once again a typology begins with a topology. Thinking depends on certain coordinates.” (NP, 110)

To begin Thinking, and to begin thinking about a Tragic Community, we must begin with an immanent process; untimely and ‘to come.’ Jean Luc-Nancy illustrates the pitfalls of a Method-ological thinking and the need for a Cultural one:

“ What is important is one sense of this truth, namely, that “authority” cannot be defined by any preexisting authorization (whether institutional, canonical, or based on some norm) but can only proceed from a desire that expresses itself or recognizes itself in it. There is no subjectivism, certainly no psychologism, in this desire, only the expression of a true possibility and thus of a true potential of being. If democracy has a sense, it would be that of having available to it no identifiable authority proceeding from a place or impetus other than those of desire – of a will, an awaiting, a thought – where what is expressed… is being all together, all and each one among all.” (Truth of Democracy, 14)

Given this passage by Nancy we can say that to think in the style of Method is to define authority (or that which governs and limits the degree of play, freedom, movement, etc., within a given context; that is to say values and evaluations!) by a preexisting “authorization,” or “ready-made” theory. Rather, for Nancy as for Deleuze, to think in the style of Culture is to think of a community, subject, event, etc., ‘on its own terms.’ That is to say, to think ‘in process,’ to think the forces which take hold of the event, and to have a thought that does not attempt to anticipate the community ‘to come.’ But this isn’t to say that one should have no method of approach, but rather thought/life must be strategic. One must be willing to abandon what is ready-made in theory, and create new concepts because the ‘to come,’  is unknown (chance), is that which we cannot anticipate at all. Thus a Tragic Community doesn’t elaborate any theory but rather its concern is understanding the material conditions (forces, flows, economic, agricultural, cultural, etc.) necessary to be both an artist (an envisioneer of new possibilities) and the critic and criminal.

But a problem, one posed by persons like Zizek, Hardt and Negri, and to a lesser extent Brian Massumi, remains. In the age of postmodern capitalism, does the theorization and practice of a Tragic Community carry out a true critique of capital? The answer appears to be no:

“Individual consumers are being inducted into…collective processes rather than being separated out and addressed as free agents who are supposed to make an informed consumer choice as rational individuals. This is a step beyond niche marketing, its relational marketing. It works by contagion rather than by convincing, on affect rather than rational choice. It works at least as much on the level of our ‘indeterminate sociality’ as on the level of our identities. More and more, what it does is hitch a ride on movements afoot in the social field, on social stirrings, which it channels in profit-making directions. People like Negri talk about the ‘social factory’, a kind of socialisation of capitalism, where capitalism is more about scouting and capturing or producing and multiplying potentials for doing and being than it is about selling things…The product ultimately, is us. We are in-formed by capitalist powers of production. Our whole life becomes a ‘capitalist tool’ – our vitality, our affective capacties.” (Navigating Movements, 55)

Or let us take Zizek’s analysis of Deleuze and Guattari’s notion of becoming and its potential for resistance:

“And what about the so-called Transformer or Animorph toys, a car or a plane that can be transformed into a humanoid robot, an animal that can be morphed into a human or robot-is this not Deleuzian? There are no “metaphorics” here: the point is not that the machinic or animal form is revealed as a mask containing a human shape but, rather, as the “becoming-machine” or “becoming-animal”of the human.” (Bodies without Organs, 184)

According to Zizek’s analysis, it appears that capital has managed to materialize Deleuze and Guattari’s own theories of becoming-animal and becoming-machine, and even turn a profit on them. Zizek thus poses a problem-question to those who find potential forms of resistance to capital in this framework of the immanence of forces, essences, power, becomings, etc.: how does one distinguish between the becoming-animal that resists capital, and the becoming-animal that is produced by capital? Is there a ‘real’ or ‘true’ becoming and a ‘pseudo’ becoming? In response to such a caricature (a la Zizek) I would remind us that there isn’t a unitary and solitary, becoming and/or force. Every force can be either active or reactive, depending on the forces that take hold of it. Moreover, becomings can be subsumed into capitalist production or can be used to resist and subvert them.

What cannot be denied is the fact that postmodern capitalism does operate all too similar to Deleuze’s notions of becoming, flow, and deterritorialization. However, what must be resisted is the conception that the immanent critique of capitalism cannot effect any substantial changes to capitalism’s postmodern immanence. Here we must recall a notion, and one I have not yet touched on at length, of Deleuze’s reading of Nietzsche: the will to power, which is the counterargument to the Zizekian straw-man. “The will to power is the element from which derive both the quantitative difference of related forces and the quality that devolves into each force in this relation.” (NP, 50) Or put in another way,

“The will to power is thus added to force, but as the differential and genetic element, as the internal element of its production […] The will to power must be described as the genealogical element of force and of forces. Thus it is always through the will to power that one force prevails over others and dominates or commands them. Moreover it is also the will to power (dy) which makes a force obey within a relation; it is through will to power that it obeys.”(NP, 51)

To understand the will to power as the genealogical element of force is to understand that will to power does not mean that a will wants power. Will/willing designate something different from power: will/willing are understood as ‘joy’ and ‘creation,’ respectively. Power, on the other hand, “is the one that wills in will. Power is the genetic and differential element in the will.”(NP, 85) To the extent that power is ‘the one that’ interprets and evaluates life, we must ask who is ‘the one that’? What is the creative deed, the willed creation, of power? Insofar as our answer to this question is active and affirmative force, Deleuze will maintain the term will to power. Will to power is the selection and creation of “a particular relation of forces, a particular quality of forces.”(NP, 85) Insofar as our answer to this question is reactive and negating force, Deleuze will use the term will to nothingness. (NP, 64) But to what extent does the will to power answer the question of distinguishing active from reactive force, or capitalist-becomings from anticapitalist-becomings?

“The will to power as genealogical element is that from which senses derive their significance and values their value…The signification of sense consists in the quality of the force which is expressed in a thing: is this force active or reactive and of what nuance? The value of a value consists in the quality of the will to power expressed in the corresponding thing; is the will to power affirmative or negative and of what nuance?” (NP, 54-55)

These are the guiding questions Deleuze gifts us with: what type of power, or better who is ‘the one that’ wills in the will to power? is it active or reactive and of what nuance? These questions can be summed up as such: what is the creative deed of the one that wills? Nietzsche replies, “slave morality says “no”…: and this “no” is its creative deed.” (NP, 36) Understanding this distinction of will to power and will to nothingness, we can return to the “theoretical weakness” of  “postmodern” philosophy. The becoming-animal, and becoming-machine of transformer and animorph toys embody a becoming, yes. But what kind of becoming? active or reactive? and of what nuance?

The becoming-commodity of these becoming-animal/becoming-machine are reactive becomings arising from a will to nothingness. The creativity of such becomings have been channeled and reduced into profit-machines; becoming-animal has become-commodity, which has become-profit. The ultimate reduction to profit is capitals creative deed; the “no” to that which is outside of itself, to that which becomes something other than profit. This is, too, the point of Agamben’s commentary on Tiananmen square: the becoming-community of whatever-singularities posit a value different from the values of becoming-capital. And to the extent that ‘postmodern’ capitalism cannot tolerate these becomings which are incommensurable to it and thus actively negate them, they are reactive/negating forces: the will to nothingness par excellence.