Transition: From Structure to the Machine

2020 ◽  
pp. 100-142
Author(s):  
Koichiro Kokubun
Keyword(s):  
Zero Point ◽  
Theoretical Explanation ◽  
Deleuze And Guattari

This chapter shows that Deleuze was not only aware of the practical impasse of his philosophy, he understood its source: the strong structuralist element in his thinking. However he could not, by himself, find a way out of this impasse, which is why he embarked upon the collaboration with Guattari that would result in the book Anti-Oedipus. The structure of ‘waiting for failure’, where failure is itself the mark of success, is in fact a staple of structuralist, in particular Lacanian reasoning, which posits as the centrepiece of structure an ‘empty square’, the ‘object=x’ of a primordially thwarted Desire which can explain all subsequent desires. If there is in Deleuze a notion of ‘repetition’ that resists this reduction to the originary ‘zero point’, it is nevertheless overwhelmed by the weight of Deleuze’s formative structuralism. This is the ‘theoretical’ explanation of the necessity of the encounter of Deleuze and Guattari.

scholarly journals The planetary nebula luminosity function

2012 ◽  
Vol 8 (S289) ◽  
pp. 247-254
Author(s):  
Robin Ciardullo
Keyword(s):  
Planetary Nebula ◽  
Surface Brightness ◽  
Luminosity Function ◽  
Zero Point ◽  
Theoretical Explanation ◽  
Number Of Factors ◽  
Surface Brightness Fluctuations ◽  
Type Ia ◽  
Red Giant ◽  
Supernovae Type Ia

AbstractAlthough the method has no theoretical explanation, the [Oiii]λ5007Å planetary nebula luminosity function (PNLF) is an extremely valuable tool for obtaining accurate (< 10%) extragalactic distances out to ~ 18 Mpc. Because the PNLF works in large galaxies of all Hubble types, it is one of the best tools we have for cross-checking the results of other methods and identifying systematic offsets between the Population I and Population II distance ladders. We review the PNLF's calibration and show that the method's Cepheid-derived zero point is virtually identical to that inferred from measurements of the tip of the red giant branch. We then compare the PNLF to the surface brightness fluctuations method and demonstrate that the latter's calibration yields a distance scale that is ~ 15% larger than that of the PNLF. We argue that this offset is likely due to a number of factors, including the effects of reddening on both of the techniques. We conclude by discussing the use of the PNLF for supernovae Type Ia calibration and considering the outstanding problems associated with the method.

Systematic effects in observed parallaxes

1978 ◽  
Vol 48 ◽  
pp. 31-35
Author(s):  
R. B. Hanson
Keyword(s):  
Error Estimates ◽  
Zero Point ◽  
Absolute Zero ◽  
Apparent Magnitude ◽  
Coherent System ◽  
Preliminary Results ◽  
General Catalogue ◽  
Systematic Effects ◽  
New Evidence ◽  
Right Ascension

Several outstanding problems affecting the existing parallaxes should be resolved to form a coherent system for the new General Catalogue proposed by van Altena, as well as to improve luminosity calibrations and other parallax applications. Lutz has reviewed several of these problems, such as: (A) systematic differences between observatories, (B) external error estimates, (C) the absolute zero point, and (D) systematic observational effects (in right ascension, declination, apparent magnitude, etc.). Here we explore the use of cluster and spectroscopic parallaxes, and the distributions of observed parallaxes, to bring new evidence to bear on these classic problems. Several preliminary results have been obtained.

The Common as Body Without Organs

2010 ◽  
Vol 4 (supplement) ◽  
pp. 46-63
Author(s):  
Vidar Thorsteinsson
Keyword(s):  
The Body ◽  
Fundamental Importance ◽  
Recent Book ◽  
Social Production ◽  
Deleuze And Guattari ◽  
Political Thinking ◽  
Conceptual Apparatus ◽  
Body Without Organs ◽  
Social Factory ◽  
The Common

The paper explores the relation of Michael Hardt and Antonio Negri's work to that of Deleuze and Guattari. The main focus is on Hardt and Negri's concept of ‘the common’ as developed in their most recent book Commonwealth. It is argued that the common can complement what Nicholas Thoburn terms the ‘minor’ characteristics of Deleuze's political thinking while also surpassing certain limitations posed by Hardt and Negri's own previous emphasis on ‘autonomy-in-production’. With reference to Marx's notion of real subsumption and early workerism's social-factory thesis, the discussion circles around showing how a distinction between capital and the common can provide a basis for what Alberto Toscano calls ‘antagonistic separation’ from capital in a more effective way than can the classical capital–labour distinction. To this end, it is demonstrated how the common might benefit from being understood in light of Deleuze and Guattari's conceptual apparatus, with reference primarily to the ‘body without organs’ of Anti-Oedipus. It is argued that the common as body without organs, now understood as constituting its own ‘social production’ separate from the BwO of capital, can provide a new basis for antagonistic separation from capital. Of fundamental importance is how the common potentially invents a novel regime of qualitative valorisation, distinct from capital's limitation to quantity and scarcity.

The Take and the Stutter: Glenn Gould's Time Synthesis

2015 ◽  
Vol 9 (4) ◽  
pp. 558-577
Author(s):  
Mickey Vallee
Keyword(s):  
Sensory Experience ◽  
Sound Recording ◽  
Deleuze And Guattari ◽  
Concert Hall ◽  
The Third ◽  
Passive Synthesis ◽  
Recording Studios ◽  
Recorded Performance

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall.

From Deleuze and Guattari's Words to a Deleuzian Theory of Reading

2015 ◽  
Vol 9 (4) ◽  
pp. 529-557
Author(s):  
Daniel Haines
Keyword(s):  
Literary Criticism ◽  
Deleuze And Guattari ◽  
Transcendental Empiricism ◽  
Theory Of Reading ◽  
Open Question

While Deleuze and Guattari's passion for certain literature is well known, the nature of a ‘Deleuzian’ literary criticism remains an open question. However, most critics appear to agree that Deleuze and Guattari's comments on meaning and interpretation offer an ontological alternative to the textual focus of deconstruction. Through an interrogation of the difficult style of their books in relation to Plato, Nietzsche and Derrida, this paper offers a different reading of Deleuze and Guattari in relation to literary criticism. Despite appearances, transcendental empiricism and the project of ‘overturning Platonism’ provide a Deleuzian theory of reading that attends to textuality.

Becoming Rhizomatic: Researching Flowing in/between Striated and Smooth Space

2019 ◽  
Vol 13 (3) ◽  
pp. 355-376
Author(s):  
Ester A. Betrián Villas ◽  
Gloria Jové Monclus ◽  
Charly Ryan
Keyword(s):  
Data Analysis ◽  
Educational Change ◽  
Research Methodology ◽  
Deleuze And Guattari ◽  
Smooth Space

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

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

The Open Society and the Democracy to Come: Bergson, Deleuze and Guattari

2016 ◽  
Vol 10 (3) ◽  
pp. 352-366 ◽  
Author(s):  
Bruce Baugh
Keyword(s):  
Political Philosophy ◽  
The State ◽  
Open Society ◽  
Minor Literature ◽  
Deleuze And Guattari ◽  
The People ◽  
To Come ◽  
Polar Opposite ◽  
A Minor ◽  
Gain Access

In Bergsonism, Deleuze refers to Bergson's concept of an ‘open society’, which would be a ‘society of creators’ who gain access to the ‘open creative totality’ through acting and creating. Deleuze and Guattari's political philosophy is oriented toward the goal of such an open society. This would be a democracy, but not in the sense of the rule of the actually existing people, but the rule of ‘the people to come,’ for in the actually existing situation, such a people is ‘lacking’. When the people becomes a society of creators, the result is a society open to the future, creativity and the new. Their openness and creative freedom is the polar opposite of the conformism and ‘herd mentality’ condemned by Deleuze and Nietzsche, a mentality which is the basis of all narrow nationalisms (of ethnicity, race, religion and creed). It is the freedom of creating and commanding, not the Kantian freedom to obey Reason and the State. This paper uses Bergson's The Two Sources of Morality and Religion, and Deleuze and Guattari's Kafka: For a Minor Literature, A Thousand Plateaus and What is Philosophy? to sketch Deleuze and Guattari's conception of the open society and of a democracy that remains ‘to come’.

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