Schizocapital and the branding of American psychosis

Abstract

This essay reads Deleuze and Guattari's Anti‐Oedipus, somewhat perversely, as a radical Lacanian means of conceptualizing hypermodern capitalism. If, as Deleuze and Guattari argue, it is psychoanalysis that rediscovers and retraces the death instinct in classical, nineteenth‐century capitalism, Deleuze and Guattari's schizoanalysis better exemplifies the ways in which the deterritorializing flows of twenty‐frrst‐century global capitalism have overcoded and overwritten that classical, nineteenth‐century order of things. Taking Bret Easton Ellis's novel, American Psycho as its symptomatic text, this essay discusses the implications, raised hysterically in the novel, of an unrestricted economy in which the ‘subject’ is no longer held in place by a governing (master or paternal) signifier in relation to a traditional symbolic order. The essay shows how Lacan's notion of ‘the Other’ has been reconfigured, in relation to consumer capitalism, such that it takes the form of a purely machinic imperative that turns the subject into an economically dividuated producing/product. The subject has become a little machine hooked up to the big machine that maintains it in debt in a continual process of consumption‐production of commodities, brands and identities.     

Minor Shakespeares

ABSTRACT

This introduction to the journal special edition Minor Shakespeares contextualises the articles which follow by exploring Deleuze and Guattari’s concept of ‘minor literature’ as it helps to read and reconceptualise Shakespearean drama and poetics, as well as the range of global Shakespeares. It is illustrated how recent paths taken by Deleuzian scholarship in the fields of literary and film criticism, ontology, vitalism, sexuality studies, ecocriticism and postcolonialism open potentially new lines of enquiry into Shakespeare, and how a Deleuzian/Deleuzoguattarian approach can combine openness to Shakespearean concerns with the bringing of Shakespeare into dialogue with pressing contemporary political questions.     

I,that am curtailed

ABSTRACT

The essay investigates desire in Shakespeare’s Richard III as connected to Deleuze and Guattari’s line of flight and war machine. By following the drawing of the line of flight of betrayal and the setting of Richard’s war machine, and by investigating the constitution of his character as a Body without organs, it traces the production of the plane of immanence of a differential subjectivity where desire is free to become.     

A strange lobster tale of self-sacrificial transversality: or,transversal poetics flourishes in the spectral ether of Deleuze,Bataille, and Shakespeare

ABSTRACT

Written from the perspective of Transversal Poetics, this essay involves an exploration of the theory’s various selves in the context of a self-immolating spectacle staged at London’s New Globe Theatre by the theory’s progenitor, Dr. Bryan Reynolds. The essay outlines the history of this scandalous affair, which was inspired by the work of Rodrigo Garcia (Accidens: Matar Para Comer), Deleuze and Guattari, and George Bataille. Transversal Poetics travels with Reynolds to London and is shocked and appalled by the lurid transgression that unfolds on stage as Reynolds is hung on a massive hook and then dismembered for the adoring crowds. Exploring the complexity of its own reactions to this new initiative by Reynolds – and his attempt to conceive an ‘offspring’ with Bataille through a highly questionable and outrageous Deleuzian approach – Transversal Poetics is itself subtly transformed. It casts a powerful light on the urban milieu surrounding the New Globe (Southwark, the City of London) as it brings the era of neoliberal financialization to a close. A lobster-city that combines both ‘central place’ and the ‘maritime’ qualities (as identified by Christaller), London turns out to be the perfect location for the demolition of the Deleuzian taboo against the sacrificial.     

Tracing the influence of Fernand Deligny on autism studies

In recent years, I have had a growing interest in the work of Deleuze and Guattari, the influence of Fernand Deligny’s work on their own, and the similarities and differences between their respective philosophies and those within my own writings as an autistic academic and activist. Recently a translation of Deligny’s writing became available. Deligny’s writing, even when translated, is not easy to decipher, and perhaps reflects his ‘rhizome-esque’ philosophy and practice. Yet according to Burk there were three main principals which characterised the work of Deligny: the network as a mode of being (called the ‘Arachnean’); the art of acting and doing from which his methodology of ‘mapping’ attempted to trace; and, lastly, the ‘primordial communism’ of a shared common site of living. In this article, these themes will be explored and contrasted with the theoretical writings of the autistic author Jim Sinclair and those of my own, as well as indicating how they influenced the concepts later devised by Deleuze and Guattari.     

Guattari,Deleuze, and Cultural Studies

This essay maps the changing ways that the concepts and writings of Gilles Deleuze and Félix Guattari have been mobilized in the journal Cultural Studies over the past three decades, reflects on roads not taken, and invites readers into a new conversation about the implications of the work of Deleuze and Guattari for cultural studies.     

Occupation as refrain: territory and beyond in Occupy London

Emerging with the wider ‘movements of the squares’ of 2011, Occupy London was defined by occupation, and by participants’ negotiation of what occupation meant. Its forms and meanings changed as London’s Occupiers moved between occupied sites, through uprootings by eviction, and into post-eviction attempts to extend Occupy’s territorial politics without the camps. This paper builds on three years of ethnography to consider occupation as an unfolding process, using Deleuze and Guattari’s concept of the ‘refrain’. This describes territory in three ‘moments’: the marking of a fragile centre; the stabilization of a bounded ‘home’; and the breaching of boundaries, extending in progressive directions. This rubric is used to analyze London’s occupations, and their defining tension, between an expansive desire to ‘Occupy Everywhere’ – connecting to the wider ‘99 percent’ – and the tendency to become embedded in the protest camp ‘home’. The features of ‘home’ are analyzed using Foucault’s concept of ‘heterotopia’, highlighting an alterity with ambivalent consequences for Occupy’s project. The paper argues that despite a desire to ‘deterritorialize’ occupation, Occupy London stalled in the moment of ‘home’, a consequence of the camp’s status as the ‘common ground’ of an often disparate movement, and the reduction of productive capacities characterizing Occupy’s terminal downswing.     

Actors,others, simulacra: a Deleuzean minority report on the early modern Dubrovnik stage

ABSTRACT

A playwright in the minor and marginal culture of renaissance Ragusa, Marin Dr?i? (1508–1557) has often been compared to Shakespeare, despite the obvious impossibility of influence in either direction. There is however an aspect of Dr?i?’s legacy which has received a scarce critical interest in Croatia, although it could also be discussed along the lines of Shakespeare studies: early modern Dubrovnik acting practice, culture, and style. Dr?i?’s actual and meta-theatrical treatment of acting will here be interpreted through the lenses of Gilles Deleuze’s essay ‘One less manifesto’. In this essay, Deleuze expands his notion of ‘the minor’, arguing for a kind of acting practice that would rely on variation, movement, becoming, and a perpetual linguistic deformation, forces that hinder absorption into the discourse of ‘the major’. I will further suggest that Marin Dr?i?’s exposure of the anti-theatrical prejudice of his contemporaries – clothed in a mock-version of Genesis and elaborated in the prologue of his comedy Uncle Maroje – could be read as an exemplary inversion of Plato’s method of argumentation that makes a Deleuzian case for the actor as the ultimate, troubling Other, the simulacrum of true being, a promiscuous and metamorphic kin of marionettes, animals, and women.     

Mediating affect in John Pilger’s Utopia: ‘the good life’ as a structure of whiteness

ABSTRACT

This article proposes that whiteness should be thought of as an affective structure, theorizing whiteness in terms of optimism, possessive subjectivity and multiculturalism. The article shows how the optimism of ‘the good life’ [Berlant, L., 2011. Cruel optimism. Durham, NC: Duke University Press] is linked structurally to whiteness in the construction of the Australian nation-state. In this context, Utopia [2013. Film. Directed by John Pilger. Australia: Antidote Films] specifically identifies whiteness as an affective structure. The article develops by unpacking this claim. First, I consider how the affective structure of the Australian nation-state is encountered through the mutual mediation of ‘media’ and ‘place’. I focus on the example of the film's journey to Rottnest Island – formerly an island prison, now the destination of holiday makers – to highlight how the optimism of arrival links whiteness to the present. Second, I develop an analysis of the affective surfaces of whiteness by analyzing the film's encounter with ‘White Man faciality’ [Deleuze, G. and Guattari, F., 1987. A thousand plateaus: capitalism and schizophrenia. Minneapolis: University of Minnesota Press] and Indigenous ‘slow death’ [Berlant, L., 2011. Cruel optimism. Durham, NC: Duke University Press]. Through producing a series of faces, Utopia portrays whiteness as a deflective surface that propagates the ‘onto-pathology’ of white Australia [Nicolacopoulos, T. and Vassilacopoulos, G., 2014. Indigenous sovereignty and the being of the occupier: manifesto for a white Australian philosophy of origins. Melbourne: Re.press]. Utopia also portrays whiteness as an absorptive surface in which Aboriginal self-possession – including, in the form of life – disappears. The film emphasizes the loss of Aboriginal life through illness and suicide linked to incarceration, overcrowding and state-induced impoverishment. The article concludes by locating media (including Utopia) within the tension between absorption and deflection as a tension between the different spatial actions of the affective relations that mediate whiteness.     

Minoring Shakespeare: Deleuze’s Storm – Caliban or the last of the Palestinians

ABSTRACT

There will be no more thinking with Shakespeare, only transposition of his corpus into a minor mode. Transposition and no more thinking ever: but transposition from Major to Minor, for ‘when one sees,’ writes Gilles Deleuze, ‘what Shakespeare is subjected to […], his magnification, normalization, one clamors at present for another treatment that would rediscover in him an active minoritarian force’. One must now rediscover this force both dissident (Hamlet) and minor, and regress with Shakespeare through the legacy of his Tempest, that is: a parcel of earth, an island situated precisely in the Orient, in the Middle East, and its inhabitant, as savage as legitimate, that creature, race-people, ‘oppressed, bastard, inferior, anarchic, nomadic, irremediably minor […] summoned forth by art and philosophy’: Caliban.     

Assembling the refugee anthology

ABSTRACT

There has been a sudden proliferation of short story anthologies published in direct response to the refugee ‘crisis’ of 2015 and the US travel ban of 2017. This article focuses on two of these collections (The Displaced and Banthology, both published in 2018) in order to theorize the reasons behind this phenomenon. What makes an anthology better equipped than a single authored piece of writing to respond to such contemporary themes as migration and displacement? I argue that the answer might lie in the precise nature of their heterogeneous form, which allows anthologies to be assembled and reassembled by various stakeholders during their production and reception so that they mean differently in different times and places. My analysis of the anthology as assemblage brings Deleuze and Guattari’s original concept into dialogue with newer notions of queer curation and postcolonial reading in order to conceive of processes of selecting and fitting elements together as deliberate tactics. I pay particular attention to how such processes highlight the agentic role of the reader, allowing them to make their own assemblages from the multiple interrelations that emerge between the anthology’s composite elements, and I show through specific examples from primary texts of how this might be done. Developing this concept of assemblage reading (which is here also transnational by nature) allows me to extend the framework of the refugee anthology to encompass a much wider range of acts of collective creation in my conclusion.     

Pragmatics for the Production of Subjectivity: Time for Probe‐Heads

This article attends to the collaborative project of Gilles Deleuze and Felix Guattari, and specifically to their concept of “probe‐head” as mapped out in A Thousand Plateaus. Probe‐head names the rupturing of, and production of alternative modes of organisation to, the mixed semiotic of faciality that determines much of our lived life, in fact that constitutes us as “human”. In exploring this alternative “production of subjectivity” the essay attends also to Deleuze and Guattari’s notion of “several regimes of signs”, and to the idea of an experimental “pragmatics” of living. The essay goes on to map out what might be called two operating terrains of probe‐heads, in fact two different “times” of the contemporary – the past and the future – and looks at how these might be deployed against the impasses of the present. As far as the latter goes the essay looks at case studies of myth/modern paganism and contemporary art production.     

Idiot science for a blue humanities: Shakespeare’s The Comedy of Errors and Deleuze’s mad Cogito

ABSTRACT

Can we imagine a Blue Humanities that takes the non-relation as a starting point for ecological thought? I believe we can. Following Shakespeare and Deleuze, this essay engages in a thought experiment that, if it is not too absurd, might, like the ship of fools of medieval times, unmoor the Blue Humanities from its current safe harbor by putting the thought of ‘our’ world under erasure. This is not a matter of turning thought around, such that, by turning to the sea, we turn thought away from calculation and instrumental reason and rediscover our true nature. Rather, the image of thought I pursue here is narcissistic. Reading Shakespeare and Deleuze in a minor key, we will see that narcissism not only makes our relations doubtful, but also enfolds the non-relation as the very inside/outside of ecological thought.     

Pyramid schemes and programmatic management: Critical reflections on the ‘guru industry’

This paper offers a critical review of the ‘guru industry’. Analysing its orientations and its related attempts to engage practitioners in a programme of re‐education designed to off‐set the excesses of guru theorising, this papers argues that the educational agenda so produced is simultaneously elitist, depoliticised and out of step with recent analytical developments. Reviewing accounts of consulting which highlight the interpretative flexibility of guru theorising, we will suggest that calls for practitioner re‐education remain deadlocked in a paradigm, which fails to acknowledge the local editing and translation of consulting products. In an attempt to break out of this limiting framework the paper suggests the need for an account of consultancy at work designed to acknowledge: a) workplace politics, b) the complexities of consumption, and c) the externalities associated with the production of a management education designed to reflect the orientations of an élite organizational cadre.     

SMOOTHING MACHINES AND THE CONSTITUTION OF SOCIETY

I ask the reader to imagine society as a production of‘smoothing machines’. Smoothing machines mark the surfaces of bodies, and in the social sense, they are markings of the body that indicate status, generally in terms of purity or perfection. The socius, Deleuze and Guattari write, is a coding machine, and codes smooth social relations of power. Elias Canetti, in his work on crowds, discovers an internal connection between smoothness, social power, and the body for him the first aspect of power is the smoothness of the teeth, and he traces modern forms of social control and violence to eating and incorporation. In his darkest vision, ‘everything is going smoothly’ comes to mean that everything is in our power, and power is equated with paranoia and the naked will to survive. Many contemporary disciplinary technologies take the form of smoothing the body, understood as‘fitting’ the body to a model of subjectivity and a functional regime. Not all smoothing machines facilitate social control, however. As Deleuze and Guattari suggest, many also generate lines of flight or escape. For every smoothing machine that forms a Subject and submits it to power, there are others that set it free.     

BANALITY FOR CULTURAL STUDIES

In her 1990 essay, ‘Banality in Cultural Studies,’ Meaghan Morris raises very serious concerns about the relatively unexamined role that banality plays in cultural studies' work. Taking up her challenge, this essay endeavors to unlock some of the ways that banality might be, as Morris suggests, ‘empowering’ and ‘enabling’ for cultural studies and, thus, not merely banality as something that is left behind after it has been exorcised or redeemed in the movements of cultural analysis itself. Beginning with a few of Morris' own critical coordinates (such as Michel de Certeau and Maurice Blanchot), this essay, then, looks to how banality enters into the triadic philosophical conceptualizations of Henri Lefebvre on ‘everyday life’ particularly through his concept of ‘everydayness’. Most of all, this essay investigates the ways that this often-undertheorized concept from Lefebvre might be brought to ‘life’ (in the widest sense imaginable) in the writings of Gilles Deleuze and Felix Guattari on ‘the virtual.’ The virtual is, in one sense, a means of grasping what lies beyond the realm of cognition a more diffuse view of the real that would include the incorporeal, the inorganic, and all points in-between (including a more broadly drawn version of consciousness). It will be argued that, through ‘the virtual,’ everyday life becomes available to cultural studies' accounts as a radically ‘open totality’ or Outside and, as such, the movements, as well as the politics, of critique take on a different sort of tone and trajectory.     

‘Blowing up the pylon’: the limitations to Lacanism in organization studies,seen from the perspective of Deleuze and Guattari

We critically engage with the Lacanian notions of fantasy and lack through an understanding of desire as ontologically productive. The introduction of the Lacanian psychoanalytic notions of fantasy and lack into organizational studies has helped to widen the understanding of the mechanism that makes employees desire the idealized images of identity provided by the organizations for which they work. Our claim is that Deleuze’s and Guattari’s conception of desire as productive contributes to the understanding of the role that desire plays in producing and organizing the social setting in which such fantasies and a sense of lack emerge in the first place. Furthermore, we argue that Deleuze and Guattari can help point to the inherent danger of Lacanism’s blunting its own analytical and critical potential when trying to understand such social settings.     

All Things Thrown and Wonderful,All Memories Great and Small

And the Lord God made them all. I went to Sunday school and like lots of other kids (though far from all) came to an age at which I simply stopped going. Nothing conscious about it, I don't think, it's just those sets of spaces stopped becoming; stopped like nothing physical can stop, like a car crashing into a wall and instead of rebounding being merely consumed in whole. I (re)member, in my naive teens (when is this? I do not know. Perhaps the time of the Iraq war, but maybe this was a different car journey) I once came out with the statement (which was not particularly naive especially) “I think God exists, how did we all get here otherwise”. Me, my sister that is two years older than me, my mum and dad, were on the road from Auchmuir Bridge towards Stirling around Loch Leven, the loch in Fife, Scotland, on which Mary Queen of Scots was held on an island. I have an image of a memory of going there as well. It is thus, however, that I (re)member the initiation into a different vision of the universe and everything. Yet it is a state clearly pleated bewilderingly. As an event it exists in what Deleuze and Guattari term a “rhizome, a burrow”, with “flights of escape” which have no beginnings or ends, mere initialities and finalities. 3 3 They talk of this in many places. See Deleuze, Gilles and Guattari, Felix , Anti‐Oedipus: Capitalism and Schizophrenia , ( London and New York : Continuum, 2004 ); Deleuze, Gilles and Guattari, Felix , Kafka: Toward a Minor Literature , Dana Polan trans., ( Minneapolis and London : University of Minnesota Press, 1986 ). For Deleuze alone also see Deleuze, Gilles , The Fold: Leibniz and the Baroque , Tom Conley trans. ( London : The Athlone Press, 1993 ).
This is strange. It is not a polemic, nor does it have an explicit argument, except perhaps to ask the question that always dances on a pinhead – as Bohumil Hrabal once put it, “Pirouettes on a Postage Stamp” 4 4 Hrabal, Bohumil , Pirouettes on a Postage Stamp .
– is there any escape? I think I sang “All Things Bright and Beautiful” at my Gran's funeral, but it might have been something else. We stopped in the house of the priest and watched England lose the Cricket World Cup in 1999; they played in blue. That's how I (re)member the year of my Gran's funeral. The church I used to go to burned down. Arson, I think.     

‘Nomadic’ organization and the experience of journeying: Through liminal spaces and organizing places

This paper explores the author's experience of ‘nomadic’ organization [Deleuze, G., and F. Guattari. 1988. A Thousand Plateaus. London: Continuum] through the findings of an ethnographic study of an annual folk-culture community festival in a rural region of Sweden. The study concerned the practices of one small village community organizing group, of which the author was a member, in contributing to the festival. Using autoethnographic methods, the author brings together phenomenological theories of embodied knowledge [Merleau-Ponty, M. 1962. The Phenomenology of Perception. Abingon: Routledge; Küpers, W. 2011. “Dancing on the Līmen – Embodied and Creative Inter-Places as Thresholds of Be(com)ing: Phenomenological Perspectives on Liminality and Transitional Spaces in Organisation and Leadership.” Tamara – Journal for Critical Organization Inquiry Special Issue on Liminality 9 (3–4): 45–59.] and process theories or organizing [Chia, R. 1999. “A Rhizomic Model of Organizational Change and Transformation: Perspective from a Metaphysics of Change.” British Journal of Management 10 (2): 209–227; Tsoukas, H., and R. Chia. 2002. “On Organizational Becoming: Rethinking Organizational Change.” Organization Science 13 (5): 567–582] to examine his experiences of nomadic ‘journeying’. This highlights his movement in and through liminal spaces, both physical and metaphorical, as part of the research project, and his engagement with fellow participants in the co-construction of a place as part of the festival site organization. The impacts of these experiences on the author and their implications for the spatial relations of organizing are examined using fragments of reflexion, incorporating photographic and poetic elements.