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'Immanence and Desire' - Gilles Deleuze and Felix Guattari

3/21/2017

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​Negative theology (or the theology of absence), the transcendence of the law, the a prioriness of guilt are the dominant themes of so much Kafka interpretation. The famous passages in TheTrial(as well as in "The Penal Colony" and "The Great Wall of China") present the law as a pure and empty form without content, the object of which remains unknowable: thus, the law can be expressed only through a sentence, and the sentence can be learned only through a punishment. No one knows the law's interior. No one knows what the law is in the Colony; and the needles of the machine write the sentence on the body of the condemned, who doesn't know the law, at the same time as they inflict their torture upon him. "He will learn [the sentence] on his body." In "The Great Wall of China": "[I]t is an extremely painful thing to be ruled by laws that one does not know. . . . [T]he essence of a secret code is that it should remain a mystery." Kant constructed a rational theory of the law's reversal from a Greek conception to the Judeo-Christian one. The law no longer depends on a preexistent Good that would give it a materiality; it is a pure form on which the good such as it is depends. The good is that which the law expresses when it expresses itself. One might say that Kafka situates himself as part of this reversal. But the humor that he puts into it shows an entirely different intention. For him, it is less a question of presenting this image of a transcendental and unknowable law than ohemechanismof an entirely different sort of machine, which needs this image of the law only to align its gears and make them function together with "a perfect synchronicity" (as soon as this image-photo disappears, the pieces of the machine disperse as in "The Penal Colony"). The Trial must ​be considered a scientific investigation, a report of the experiments on the functioning of a machine in which the law runs the strong risk of playing no more than the role of exterior armature. That's why the texts in The Trial should be used only with great care. The primary problem has involved misjudging the relative importance of these texts and making unwarranted assumptions about their placement in the novel, as is expecially evident in the ways that Max Brod arranged things to support his thesis of negative theology. 
​Two chapters are of particular concern: the brief final chapter, about K's execution, and the preceding chapter, "In the Cathedral," in which the priest represents the discourse of the law. Nothing tells us that the final chapter was written at the end of The Trial; it might have been written when Kafka had just begun to revise and was still under the influence of his breakup with Felice. It is a premature, delayed, aborted ending. One can't fix the place where Kafka would have put it. It might well be a dream that could fit anywhere in the course of the novel. Indeed, Kafka published, by itself and under the title "A Dream," another fragment originally envisioned for The Trial. Max Brod is thus better inspired when he notes the degree to which The Trial is an interminable novel, necessarily indefinite: "But as the trial, according to the author's own statement made by word of mouth, was never to get as far as the highest Court, in a certain sense the novel could never be terminated—that is to say, it could be prolonged into infinity" (postface toTrans. Willa and Edwin Muir. [New York: Alfred A. Knopf, 1956], 334). The idea of ending with K's execution is contradicted by the whole direction of the novel and by the quality of "unlimited postponement" that regulates The Trial. The imposition of K's execution as the final chapter seems to have an equivalent in the history of literature—the placement of the famous description of the plague at the end of Lucretius's book. In both cases, it is a question of showing that at the last moment, an epicurian can do no more than submit to agony, or that a Prague Jew can only assume the guilt that is operating within him. As for the other chapter, "In the Cathedral," the place of honor given to it, as though it indicated some sort of key to the novel, as though it constituted proof of the book's religious character, is also well contradicted by its own content. The story about the gatekeeper of the law remains highly ambiguous, and K learns that the priest who tells this story is a member of the judiciary apparatus, chaplain for the prisons, one element in a whole series of other elements, and that he has no privilege, since the series has no need to stop with him. We agree with Uyttersprot's proposal to remove this chapter and put it before that entitled "The Lawyer, the Industrialist, and the Painter."
From the point of view of a supposed transcendence of the law, there must be a certain necessary connection of the law with guilt, with the unknowable, with the sentence or the utterance. Guilt must in fact be the a priori that corresponds to transcendence, for each person or for everyone, guilty or innocent. Having no object and being only pure form, the law cannot be a domain of knowledge but is exclusively the domain of an absolute practical necessity: the priest in the cathedral explains that "it is not necessary to accept everything as true, one must only accept it as necessary." Finally, because it has no object of knowledge, the law is operative only in being stated and is stated only in the act of punishment: a statement directly inscribed on the real, on the body and the flesh; a practical statement opposed to any sort of speculative proposition. All these themes are well presented in The Trial. But it is precisely these themes that will be the object of a dismantling (demontage), and even of a demolition, throughout Kafka's long experimentation. The first aspect of this dismantling consists in "eliminating any idea of guilt from the start," this being part of the accusation itself: culpability is never anything but the superficial movement whereby judges and even lawyers confine you in order to prevent you from engaging in a real movement—that is, from taking care of your own affairs. Second, K will realize that even if the law remains unrecognizable, this is not because it is hidden by its transcendence, but simply because it is always denuded of any interiority: it is always in the office next door, or behind the door, on to infinity (we can already see this quite well in the first chapter of The Trial where everything happens in the "room next door"). Finally, it is not the law that is stated because of the demands of a hidden transcendence; it is almost the exact opposite: it is the statement, the enunciation, that constructs the law in the name of an immanent power of the one who enounces it—the law is confused with that which the guardian utters, and the writings precede the law, rather than being the necessary and derived expression of it.
​The three worst themes in many interpretations of Kafka are the transcendence of the law, the interiority of guilt, the subjectivity of enunciation. They are connected to all the stupidities that have been written about allegory, metaphor, and symbolism in Kafka. And also, the idea of the tragic, of the internal drama, of the intimate tribunal, and so on. No doubt, Kafka holds out the bait. He holds it out even, and especially, to Oedipus; not from complacency but because he wants to make a very special use of Oedipus to serve his diabolical project. It is absolutely useless to look for a theme in a writer if one hasn't asked exactly what its importance is in the work-that is, how it functions (and not what its "sense" is). Law, guilt, interiority—Kafka has a great need for them as the superficial movement of his work. Superficial movement doesn't mean a mask underneath which something else would be hidden. The superficial movement indicates points of undoing, of dismantling, that must guide the experimentation to show the molecular movements and the machinic assemblages of which the superficial movement is a global result. We could say that law, guilt, interiority are everywhere. But all that is necessary is to consider a specific piece of the writing machine-for example, the three pricipal gears —letters, stories, novels —in order to see that these themes are really nowhere present and don't function at all. Each of these gears certainly has a primary affective tonality. ​But, in the letters, it is fear, not guilt: fear of the trap that is closing in on it, fear of a return of flux, the vampire's fear of being surprised in full daylight by the sun, by religion, by garlic, and by the stake through the heart (Kafka is greatly afraid, in his letters, of people and what can happen because of them; this is quite different from guilt or humiliation). And in the stories about a becoming-animal, it is escape that has an affective tonality apart from any connection to guilt and also distinct from fear; the becoming-animal lives a life of escape more than one of fear (the animal in "The Burrow" isn't really afraid, and the jackals aren't afraid—they liverather in a sort of "lunatic hope"; the musical dogs "that could dare achieve such thing had no need to fear such things"). In the novels, finally, it is strange to see the degree to which K doesn't feel any guilt and doesn't feel fear and doesn't flee; he is completely audacious and he offers a new tonality that is very strange, a sense of dismantling that is simultaneously that of a judge and that of an engineer, a veritable feeling, a Gemut. Fear, flight, dismantling—we should think of them as three passions, three intensities, correponding to the diabolical pact, to the becoming-animal, to the machinic and collective assemblages. 
So, should we support realist and social interpretations of Kafka? Certainly, since they are infinitely closer to noninterpretation. And it is much more worthwhile to talk about the problems of minor literature, about the situation of a Jew in Prague, about America, about bureaucracies and about great trials, than to talk about an absent God. One could object that Kafka's America is unreal, that the New York strike remains intangible, that the most difficult working conditions receive no indignation in his work, that the election of the judge falls into the realm of pure nonsense. One might correctly note that there is never any criticism in Kafka. Even in "The Great Wall of China," the minority party can even believe that the law is only an arbitrary fact of the "nobility"; the party expresses no anger, and "that is the real reason why the parties who believe tht there is no law have remained so few —although their doctrine is in certain ways so attractive, for it unequivocally recognizes the nobility and its right to go on existing." InK doesn't attack the law and willingly aligns himself with the strong side and the executioners: he prods Franz who is being whipped; he terrorizes an accused person by seizing him by the arm; at the lawyer's, he makes fun of Block. In The Castle, K likes to menace and punish whenever he can. Can we conclude that, not being a "critic of his time," Kafka turned his criticism "against himself and had no other tribunal than an "internal tribunal"? This would be grotesque, since it would turn criticism into a dimension of representation. If representation is not external, it can be only internal from here on. But it's really something else in Kafka: Kafka attempts to extract from social representations assemblages of enunciation and machinic assemblages and to dismantle these assemblages. Already in the animal stories, Kafka was drawing lines of escape; but he didn't "flee the world." Rather, it was the world and its ​representation that hend that he made follow these lines. It was a question of seeing and speaking like a beetle, like a dung beetle. Even more, in the novels, the dismantling of the assemblages makes the social representation take flight in a much more effective way than a critique would have done and brings about a deterritorialization of the world that is itself political and that has nothing to do with an activity of intimacy.
Writing has a double function: to translate everything into assemblages and to dismantle the assemblages. The two are the same thing. This is why we have been distinguishing in Kafka's work instances that are in fact enmeshed in each other—first,achinlc indexes;abstract machines;e assemblages of the machine.The machinic indexes are the signs of an assemblage that has not yet been established or dismantled because one knows only the individual pieces that go into making it up, but not how they go together. Most frequently, these pieces are living beings, animals, but they are only valuable as moving pieces or configurations of an assemblage that goes beyond them, and whose mystery remains because they are only the operators or executors of this assemblage. Thus, the musical dogs are actually pieces of the musical assemblage and produce a cacaphony by "the lifting and setting down of their feet, certain turns of the head, their running and their standing still, the position which they [take] up in relation to one another." But they function only as indexes, since they "[do] not speak, they [do] not sing, they remain generally silent, almost determinedly silent." These machinic indexes (which are not at all allegorical or symbolical) are particularly well developed in the acts of the becoming-animal and in the animalistic stories. "The Metamorphosis" forms a complex assemblage in which the index-elements are Gregor-animal and the musical sister; in which the index-objects are the food, the sound, the photo, and the apple; and in which the index configurations are the familial triangle and the bureaucratic triangle. The bent head that straightens up and the sound that latches onto the voice and derails it also function as indexes of this sort in the majority of the stories. There is thus a machinic index each time a machine is being built and is beginning to function, even though one doesn't know how the disparate parts that make it up and make it work actually function. But the reverse case also appears in the stories: abstract machines surge into existence by themselves, without indexes. But in this case, they don't function, or no longer function. Such is the machine in the Penal Colony that answers to the Law of the old warden and doesn't survive its own dismantling; such is the creature named Odradek about whom "one is tempted to believe that the creature once had some sort of intelligible shape and is now only a broken-down remnant. Yet this does not seem to be the case . . . [T]he whole thing looks senseless enough but in its own way perfectly finished"; such too are Blumfeld's ping-pong balls. Yet it seems also that the representation of the transcendental law, with its elements of guilt and unknowability, is an abstract machine of this sort. If the machine of the Penal ​Colony, as representative of the law, appears to be archaic and outmoded, this is not because, as people have often claimed, there is a new law that is much more modern but because the form of the law in general is inseparable from an abstract, self-destructive machine and cannot develop in a concrete way. This is why the stories seem to encounter two dangers that make them stop short or force them to remain incomplete or prevent them from developing into novels: either they are nothing more than machinic indexes of the assembly, no matter how lively they appear to be; or they put into operation abstract machines that are all assembled, but dead, and never succeed in concretely plugging into things (we should note that Kafka willingly publishes his texts on transcendental law in short stories that he detaches from the whole). 
​Thus there remain machinic assemblages as objects of the novel. This time the machinic indexes stop being animal; they group, give birth to series, start proliferating, taking over all sorts of human figures or parts of figures. On the other hand, the abstract machine changes in a singular fashion. It stops being reified and isolated; it no longer exists outside the concrete, socio-political assemblages that incarnate it. It diffuses into them and measures their machinic degree. Finally, the assemblage no longer works as a machine in the process of assembling itself, with a mysterious function, or as a fully assembled machine that doesn't function, or no longer functions. It works only through the dismantlingthat it brings about on the machine and on representation. And, actually functioning, it functions only through and because of its own dismantling. It is born from this dismantling (it is never the assembling of the machine that interests Kafka). This method of active dismantling doesn't make use of criticism that is still part of representation. Rather, it consists in prolonging, in accelerating, a whole movement that already is traversing the social field. It operates in a virtuality that is already real without yet being actual (the diabolical powers of the future that for the moment are only brushing up against the door). The assemblage appears not in a still encoded and territorial criticism but in a decoding, in a deterritorialization, and in the novelistic acceleration of this decoding and this deterritorialization (as was the case with the German language—to always go farther in this movement that takes over the whole social field). This method is much more intense than any critique. K says so himself. One's goal is to transform what is still only a method (precede) in the social field into a procedure as an infinite virtual movement that at the extreme invokes the machinic assemblage of thetrial(proces)s a reality that is on its way and already there.4 The whole of this operation is to be called a Process, one that is precisely interminable. Marthe Robert underlines the link between the trial and the procedure, and this is certainly not a mental, psychical, or interior procedure. 
Here, then, are the new characteristics of the novelistic machinic assemblage in opposition to the indexes and the abstract machines. These characteristics im​pose not an interpretation or a social representation of Kafka but an experimentation, a socio-political investigation. Since the assemblage functions really in the real, the question becomes: how does it function? What function does it have? (Only later will we ask what it consists of and what its elements and its links are.) Thus, we must follow the movement oft several levels, taking account of objective uncertainty about the supposed last chapter and of the certainty that the second-to-last chapter, "In the Cathedral" was more or less poorly placed by Max Brod. According to a first view, everything is false in The Trial: even the law, in contrast to Kantian law, erects the lie into a universal rule. The lawyers are false lawyers, the judges are false judges, "oafish inspectors," "corrupt warders," or at the very least are so much subalterns that they hide the real matters and "the proceedings of an inaccessible justice" that no longer lets itself be represented. Nonetheless, if this first view is not definitive, this is because there is a power in the false, and it is bad to weigh justice in terms of true or false. So the second view is much more important: where one believed there was the law, there is in fact desire and desire alone.Justice is desire and not law. Everyone in fact is a functionary of justice—not only the spectators, not only the priest and the painter, but also the equivocal young women and the perverse little girls who take up so much space in The Trial. K's book in the cathedral is not a prayerbook but an album of the town; the judge's book contains only obscene pictures. The law is written in a porno book. Here, it is no longer a question of suggesting an eventual falsity of justice but of suggesting its desiring quality: the accused are in principle the most handsome figures and are recognized for their strange beauty. The judges act and reason "like children." It happens that a simple joke can derout repression. Justice is not Necessity but, quite the contrary, Chance; and Titorelli paints the allegory of it as a blind fortune, a winged desire. It is not a stable will but a moving desire. It is curious, K says, how justice must not move in order to not sway its scales. But the priest explains at another moment, 'The Court wants nothing from you. It receives you when you come and dismisses you when you go." The young women are not equivocal because they hide their nature as auxiliaries of justice; on the contrary, they show themselves to be auxiliaries because they simultaneously bring bliss to judges, lawyers, and accused, out of a single and unique polyvocal desire. The whole ofis overrun by a polyvocality of desire that gives it its erotic force. Repression doesn't belong to justice unless it is also desire itself—desire in the one who is repressed as well as in the one who represses. And the authorities of justice are not those who look for offenses but those who are "attracted, propelled by offense." They nose around, they rummage about, they search everywhere. They are blind and accept no evidence but take into consideration only hallway events, the whispers of the courtroom, the secrets of the chambers, the noise heard behind doors, the murmurs from behind the scene, all those microevents that express desire and its arbitrary fortunes.
​If justice doesn't let itself be represented, that is because it is desire. Desire could never be on a stage where it would sometimes appear like a party opposed to another party (desire against the law), sometimes like the presence of the two sides under the effect of a superior law that would govern their distribution and their combination. Think of tragic representation as presented by Hegel: Antigone and Creon move on stage as if they were two parties. It is in this way that K still thinks of justice at his first interrogation. There would be two sides, two parties, one a little more favorable to desire, the other to the law, and whose distribution would refer to a superior law. But K notices that it isn't really like that: the important thing is not what happens in the tribunal or the movements of the two parties together but the molecular agitations that put into motion the hallways, the wings, the back doors, and the side chambers. The theater in Amerika is no more than an immense wing, an immense hallway, that has abolished all spectacle and all representation. And the same thing happens in the political realm (K himself compares the tribunal scene to a political meeting, and, more specifically, to a meeting of socialists). There also the important thing is not what happens in the tribunal where people debate only questions of ideology. Indeed, the law is one of these debated questions; everywhere in Kafka—in The Trial, in "The Great Wall of China"—the law is examined in terms of its connection to the parties that the different commentators belong to. But politically, the important things are always taking place elsewhere, in the hallways of the congress, behind-the-scenes of the meeting, where people confront the real, immanent problems of desire and of power-the real problem of justice. 
From this point on, it is even more important to renounce the idea of a transcendence of the law. If the ultimate instances are inaccessible and cannot be represented, this occurs not as a function of an infinite hierarchy belonging to a negative theology but as a function of a contiguity of desire that causes whatever happens to happen always in the office next door. The contiguity of the offices, the segmentalization of power, replaces the hierarchy of instances and the eminence of the sovereign (already, the castle had revealed itself to be a segmental and contiguous rambling assemblage in the style of the Hapsburg bureaucracy or the mosaic of nations in the Austrian empire). If everything, everyone, is part of justice, if everyone is an auxiliary of justice, from the priest to the little girls, this is not because of the transcendence of the law but because of the immanence of desire. This is the discovery into which K's investigation and experimentation very quickly locks itself. While the Uncle pushes him to take his trial seriously, for example, to see a lawyer and pass through all the steps of transcendence, K realizes that he should not let himself be represented, that he has no need of a representative—that no one should come between him and his desire. He will find justice only by moving, by going from room to room, by following his desire. He will take control of the machine of expression: he will take over the investigation, he will write without stop, he will demand ​a leave of absence so he can totally devote himself to this "virtually interminable" work. It is in this sense that The Trial is an interminable novel. An unlimited field of immanence instead of an infinite transcendence. The transcendence of the law was an image, a photo of the highest places; but justice is more like a sound (the statement) that never stops taking flight. The transcendence of the law was an abstract machine, but the law exists only in the immanence of the machinic assemblage of justice. The Trial is the dismantling of all transcendental justifications. There is nothing to judge vis-a-vis desire; the judge himself is completely shaped by desire. Justice is no more than the immanent process of desire. The process is itself a continuum, but a continuum made up of contiguities. The contiguous is not opposed to the continuous —quite the contrary, it is a local and indefinitely prolongable version of the continuous. Thus, it is also the dismantling of the continuous-always an office next door, always the contiguous room. Barnabas "is admitted into certain rooms, but they're only a part of the whole, for there are barriers behind which there are more rooms. Not that he's actually forbidden to pass the barriers. . . . And you musn't imagine that these barriers are a definite dividing-line. . . . [TJhere are barriers he can pass, and they're just the same as the ones he's never yet passed." Justice is the continuum of desire, with shifting limits that are always displaced.
​It is this procedure, this continuum, this field of immanence that the painter, Titorelli, analyzes as unlimited postponement. A central part of The Trial that makes Titorelli into a special character of the novel. He distinguishes three theoretical possibilities: definite acquittal, ostensible or superficial acquittal, and unlimited postponement. The first case never in fact comes about, since it would imply the death or abolition of a desire that would have reached a conclusion. On the other hand, the second case corresponds to the abstract machine of law. It is defined, in fact, by the opposition of fluxes, the alternation of poles, the succession of periods—a counterflux of the law in response to a flux of desire, a pole of escape in response to a pole of repression, a period of crisis for a period of compromise. We could say that the formal law sometimes retreats into a transcendence by leaving a field provisionally open to desire, or sometimes makes the transcendence emanate hierarchized hypostases that are capable of halting and repressing desire (in fact, there are many neo-Platonic readings of Kafka). In two different ways, this state, or rather this cycle of superficial acquittal, corresponds to Kafka's situation in the letters or in the animalistic stories or in the becomings-animal. The trial at the hotel is the counterblow of the law reacting to the blow of the letters, a trial of the vampire who well knows that any acquittal can be only superficial. And succeeding the positive pole of the line of escape, the trial of the becoming-animal is the negative pole of the transcendental law that blocks the way out and that dispatches a familial hypostasis to retrap the guilty party—the re-Oedipalization of Gregor, the platonic apple that his father throws at him.
​But this apple is precisely the same one that K eats at the beginning of The Trial as part of a broken chain that finds its link in "The Metamorphosis." Because the whole story of K revolves around the way in which he enters more deeply into an unlimited postponement, breaking with all the formulas of a superficial acquittal. He thereby leaves the abstract machine of the law that opposes law to desire, as body is opposed to spirit, as form is opposed to matter, in order to enter into the machinic assemblage of justice—that is, into the mutual immanence of a decoded law and a deterritorialized desire. But what do the terms postponement and unlimited signify? If K refuses a superficial acquittal, this is not because of a desire for a real acquittal, and even less because of an intimate hopelessness coming from a guilt that feeds off itself. Guilt is entirely on the side of a superficial acquittal. We could say that superficial acquittal is simultaneously infinite, limited, discontinuous. It is infinite because it is circular, closely following "the circulation of the offices" along the path of a large circle. But it is limited and discontinuous because the point of accusation approaches and recedes in relation to this circulation, "swinging backwards and forwards with greater or smaller oscillations, longer or shorter delays": opposed fluxes, opposed poles, opposed periods of innocence, guilt, freedom, and a new arrest. Since real acquittal is out of the question, the question of innocence "or" guilt falls entirely within the realm of the superficial acquittal that determines the two discontinuous periods and the reversal of one into the other. Innocence, moreover, is a hypothesis that is much more perverse than that of guilt. Innocent or guilty, this is the question of the infinite; it is certainly not the kind of question that Kafka raises. In contrast, the postponement is finite, unlimited, and continuous. It is finite because these is no longer any transcendence and because it works by means of segments; the accused no longer has to undergo "strain and agitation" or fear an abrupt reversal (no doubt, a circulation remains, but "only in the small circle to which it has been artifically restricted," and this little circulation is only "ostensible," a residue of the apparent acquittal). Also, the delay is unlimited and continuous because it doesn't stop adding one segment to the other, in contact with the other, contiguous to the other, operating piece by piece in order to always push the limit farther back. The crisis is continuous because it is always on the side that it takes place. "Contact" with justice, contiguity, have replaced the hierarchy of the law. The delay is perfectly positive and active—it goes along with the undoing of the machine, with the composition of the assemblage, always one piece next to another. It is the process in itself, the tracing of the field of immanence.5 And it is even more evident in The Castle to what degree K is nothing but desire: a single problem, to establish or maintain "contact" with the Castle, to establish or maintain a "liaison."
Deleuze, Gilles and Guattari, Felix/ Kafka: Toward a minor literature/ Immanence and Desire
Published by the University of Minnesota Press
111 Third Avenue South, Suite 290, Minneapolis, MN 55401-2520 
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    Franco "Bifo" Berardi - The Precarious Soul (Part 2)
    François Laruelle - DECONSTRUCTION AND NON-PHILOSOPHY
    François Laruelle - ON THE BLACK UNIVERSE: 'In the Human Foundations of Color'
    François Laruelle - THE TRANSCENDENTAL COMPUTER: A NON-PHILOSOPHICAL UTOPIA
    François Laruelle- (Non-Philosophical) Chora
    François Laruelle - Desire (non-desiring (of) self)
    François Laruelle - The Failure of the Explanations of Failure: Desertion and Resentment
    François Laruelle - Between Philosophy and Non-Philosophy
    Felix Guattari - In Flux
    Felix Guattari : The Machinic Unconcious (Introduction: Logos or Abstract Machines? (part 1)
    Felix Guattari: THE MACHINIC UNCONSCIOUS( Introduction: Logos or Abstract Machines? (part 2)
    Felix Guattari - Assemblages of Enunciation, Pragmatic Fields and Transformations (part 1)
    Felix Guattari - Desire Is Power, Power is Desire
    Felix Guattari - Everybody wants to be a fascist (part1)
    Felix Guattari - Everybody wants to be a fascist (part2)
    Felix Guattari - Everybody wants to be a fascist (part3)
    Felix Guattari - Everybody wants to be a fascist (part4)
    Felix Guattari - Everybody wants to be a fascist (Discussion)
    Felix Guattari - Schizo chaosmosis (Part 1)
    Felix Guattari - Schizo chaosmosis (Part 2)
    Felix Guattari - 'So What'
    Grey Hat Accelerationism – An emergent hyperstition? Part 1.
    What is Matrix
    McKenzie Wark - Animal Spirits
    McKenzie Wark - A hacker Manifesto (Class)
    McKenzie Wark - A HACKER MANIFESTO (Education)
    McKenzie Wark - A HACKER MANIFESTO (Hacking)
    ​McKenzie Wark- A HACKER MANIFESTO (INFORMATION)
    McKenzie Wark - A HACKER MANIFESTO (Production)
    McKenzie Wark - A Hacker Manifesto (Representation)
    McKenzie Wark - Black Accelerationism
    McKenzie Wark - Chthulucene, Capitalocene, Anthropocene
    McKenzie Wark - Cognitive Capitalism
    McKenzie Wark - Franco ‘Bifo’ Berardi
    McKenzie Wark - From OOO to P(OO)
    McKENZIE WARK - Erik Olin Wright and Class Today
    McKenzie Wark - Molecular Red in Nine Minutes
    McKenzie Wark - Lazzarato and Pasolini
    McKenzie Wark - Spinoza on Speed
    McKenzie Wark - On Wendy Brown
    MCKENZIE wark - Otaku Philosophy (On Hiroki Azuma)
    McKenzie Wark - The Spectacle of Disintegration
    McKenzie Wark - The Capitalocene (On Jason Moore)
    Mark Fisher - Approaching the Eerie
    Mark Fisher - WRITING MACHINES
    Mark Fisher - D/G/Castaneda by Mark Fisher
    MARK FISHER - The Weird And The Eerie (INTRODUCTION)
    Mark Fisher - LEFT HYPERSTITION 1: THE FICTIONS OF CAPITAL
    Mark Fisher - LEFT HYPERSTITION 2: BE UNREALISTIC, CHANGE WHAT'S POSSIBLE
    Mark Fisher - Reality itself is becoming paranoiac
    Max.Ernst - RE (M) O THE R
    Max.Ernst - REMOTHERING 2 / BIG MOTHER (RENAISSANCE)
    Michael James - THE OPPORTUNITY OF NIHILISM
    Michael James - THE POEMEMENON: FORM AS OCCULT TECHNOLOGY | AMY IRELAND
    Speculating Freedom: Addiction, Control and Rescriptive Subjectivity in the Work of William S. Burroughs
    Yvette Granata - THE REPETITION OF GENERIC GNOSTIC MATRICES
    Yvette Granata - SUPERFICIE D E S CONTINENTS
    Wang and Raj - Deep learning
    Interview With William S. Burroughs
    William S. Burroughs, Laughter and the Avant-Garde
    William S. Burroughs - Last Words
    William S. Burroughs- Cutting up Politics (Part 1)
    William S. Burroughs - Cutting up Politics (Part 2)
    Burroughs's Writing Machines
    William S. Burroughs - Fold-ins
    New World Ordure: Burroughs, Globalization and The grotesque
    Nothing Hear Now but the Recordings : Burroughs’s ‘Double Resonance’
    Ron Roberts - The High Priest and the Great Beast at 'The Place of Dead Roads'
    Slavoj Žižek - 'Is there a post-human god?'
    Slavoj Žižek - Welcome To The Desert Of 'Post-Ideology'
    Jacques Ranciere - Disagreement (POLITICS AND PHILOSOPHY)
    Jacques Rancière - POLITICS AND AESTHETICS
    Jacques Ranciere - An Intellectual Adventure (Part 1)
    Jacques Rancière - An Intellectual Adventure (Part 2)
    Jacques Rancière - Of Brains and Leaves,
    Jacques Rancière - A Will Served by an Intelligence
    J.G. Ballard - Towards The Summit
    J.G. Ballard - Fictions Of Every Kind
    J.G. Ballard - Rushing To Paradise
    J.G. Ballard - Why I Want to Fuck Ronald Reagan
    J.G.Ballard - The Assassination of John Fitzgerald Kennedy Considered as a Downhill Motor Race
    J.G.Ballard - Up!
    J.G.Ballard - into the Drop Zone (High Rise) - part 9
    J.G.Ballard - The Vertical City
    J.G. Ballard - The Evening's Entertainment
    J.G.Ballard - Danger in the Streets of the Sky
    J.G.Ballard - CRASH (Chapter 1)
    J.G. Ballard - Crash (Chapter2)
    J.G.Ballard - Crash ( Chapter 6)
    J.G.Ballard - Crash (Chapter 15)
    J.G.Ballard - CRASH (Chapter 23)
    J. G. Ballard - Crash (Chapter 2 4.)
    Jean Baudrillard - For Whom Does the Knell of Politics Toll?
    Jean Baudrillard - Ecstasy Of The Social
    Jean Baudrillard - Virtuality and Events
    Jean Baudrillard - The Easiest Solutions
    Jean Baudrillard - The Mental Diaspora of the Networks
    Jean Baudrillard - The Intelligence of Evil
    Jason Moore - METABOLISMS, MARXISMS, & OTHER MINDFIELDS
    Joshua Carswell - EVALUATING DELEUZE’S “THE IMAGE OF THOUGHT” (1968) AS A PRECURSOR OF HYPERSTITION // PART 1
    Joshua Carswell - Evaluating Deleuze’s “The Image of Thought” (1968) as a Precursor of Hyperstition // Part 2
    Jose Rosales - ON THE END OF HISTORY & THE DEATH OF DESIRE (NOTES ON TIME AND NEGATIVITY IN BATAILLE’S ‘LETTRE Á X.’)
    Jose Rosales - BERGSONIAN SCIENCE-FICTION: KODWO ESHUN, GILLES DELEUZE, & THINKING THE REALITY OF TIME
    Jose Rosales - WHAT IS IT TO LIVE AND THINK LIKE GILLES CHÂTELET?
    Joseph Nechvatal - On the chaos magic art of Austin Osman Spare
    Lacan - Jouissance
    Horváth Márk and Lovász Ádám - The Emergence of Abstraction: Digital Anti-Aesthetics
    Marshall McLuhan - Les Liaisons Dangereuses
    Marshall McLuhan - MONEY (The Poor Man's Credit Card)
    Michel Foucault - Governmentality (Part 2)
    Michel Foucault - Governmentality (Part 1)
    Michel Foucault - Passion and Delirium (Part 1)
    Michel Foucault - PASSION AND DELIRIUM (Part2)
    Michel Foucault - The Subject and Power
    Michel Foucault and Gilles Deleuze - Intellectuals and power
    Guy Debord - Separation Perfected
    Guy Debord - Towards A Situationist International
    Guy Debord - Society Of The Spectale
    Guy Debord -REVOLUTION AND COUNTERREVOLUTION IN MODERN CULTURE
    Georges Bataille - Eye
    Georges Bataille - Popular Front in the Street
    Georges Battaile - Sacrifices
    Georges Bataille - The Sorcerer's Apprentice
    Georges Bataille - The Sacred Conspiracy
    Georges Bataille - The Pineal eye
    Georges Bataille - The Psychological Structure of Fascism
    Georges Bataille - The Labyrinth
    Georges Bataille - Nietzsche and the Fascists
    Georges battaille - Nietzschean Chronicle
    GILLES DELEUZE - On Spinoza (Part 1)
    GILLES DELEUZE - On Spinoza (Part 2)
    GILLES DELEUZE - On Spinoza (Part 3)
    GILLES DELEUZE - On Spinoza (Part 4)
    GILLES DELEUZE - On Spinoza (Part 5)
    GILLES DELEUZE - On Spinoza (Part 6)
    GILLES DELEUZE - On Spinoza (Part 7)
    GILLES DELEUZE - On Spinoza (Part 8)
    GILLES DELEUZE - On Spinoza (Part 9)
    GILLES DELEUZE - Capitalism, flows, the decoding of flows, capitalism and schizophrenia, psychoanalysis, Spinoza.
    Gilles deleuze -DIONYSUS AND CHRIST
    Gilles Deleuze - Dionysus and Zarathustra
    Gilles Deleuze - Repetition and Difference (Part 1)
    Gilles deleuze - Repetition and Difference (Part 2)
    Gilles Deleuze - D as in Desire
    Gilles Deleuze - A Portrait Of foucault
    Gilles Deleuze - The Philosophy of The Will
    Gilles Deleuze - Characteristics of Ressentiment
    Gilles Deleuze - Is he Good ? Is he Evil
    Gilles Deleuze - The Dicethrow
    Gilles Deleuze - Postscript On The Societies Of Control
    Gilles deleuze - The Types Of Signs
    Gilles Deleuze and Felix Guattari - The Imperialism of Oedipus
    Gilles Deleuze and Felix Guattari ​ - The Experience of Delirium
    Deleuze and Guattari - From Chaos to the Brain
    Deleuze and Guattari - The Plane of Immanence (Part 1)
    Deleuze and Guattari - The Plane Of Immanence (Part 2)
    Deleuze and Guattari - The War Machine is exterior to the State apparatus
    Deleuze and Guattari - Immanence and Desire
    Deleuze and Guattari - The Body Without Organs
    Deleuze and Guattari - Year Zero: Faciality
    Deleuze and Guattari - Desiring-Production
    Deleuze and Guattari - How do you make yourself a 'Body without Organs'?
    Deleuze and Guattari - Memories of a Sorcerer
    Deleuze and Guattari - Memories Of A Haecceity
    Deleuze and Guattari - Memories and Becomings, Points and Blocks
    Deleuze and Guattari - Fear, clarity, power and death
    Deleuze In Conversation With Negri
    Edmund Berger - DELEUZE, GUATTARI AND MARKET ANARCHISM
    Edmund Berger - Grungy “Accelerationism”
    Edmund Berger - Acceleration Now (or how we can stop fearing and learn to love chaos)
    Edmund Berger - Compensation and Escape
    Jasna Koteska - KAFKA, humorist (Part 1)
    Obsolete Capitalism: The strong of the future
    Obsolete Capitalism - THE STRONG OF THE FUTURE. NIETZSCHE’S ACCELERATIONIST FRAGMENT IN DELEUZE AND GUATTARI’S ANTI-OEDIPUS
    Obsolete Capitalism - Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 1)
    Obsolete Capitalism - Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 2)
    Obsolete Capitalism: Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 3)
    Obsolete Capitalism - Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 4)
    Obsolete Capitalism: Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 5)
    Obsolete Capitalism - Deleuze and the algorithm of the Revolution
    Obsolete Capitalism - Dromology, Bolidism and Marxist Accelerationism (part 1)
    Obsolete Capitalism - Dromology, Bolidism and Marxist Accelerationism (part 2)
    Obsolete Capitalism - Edmund Berger: Underground Streams (Part 1)
    Obsolete Capitalism - Edmund Berger: Underground Streams (Part 2)
    obsolete capitalism - Emilia Marra: COMMIT MOOSBRUGGER FOR TRIAL
    Obsolete Capitalism - McKenzie Wark - BLACK ACCELERATIONISM
    Occult Xenosystems
    QUENTIN MEILLASSOUX AND FLORIAN HECKER TALK HYPERCHAOS: SPECULATIVE SOLUTION
    Ray Brassier Interviewed by Richard Marshall: Nihil Unbound: Enlightenment and Extinction
    Rick McGrath - Reconstructing High-Rise
    Robert Craig Baum - Non-Normal Living at the Ross School
    Robert Craig Baum - Arrivals (Part 1)
    Robert Craig Baum ​- Delays (Part 2)
    Robert Craig Baum ​​- Delays (Part 3)
    Robert Craig Baum - Departures (Part 4)
    Robert Craig Baum ​​- The Last God (Part 5)
    Sean Kohingarara Sturm - NOO POLITICS
    Sean Kohingarara Sturm - NOO POLITICS 2
    Simon Reynolds - Energy Flash
    Stephen Zepke - “THIS WORLD OF WILD PRODUCTION AND EXPLOSIVE DESIRE” – THE UNCONSCIOUS AND THE FUTURE IN FELIX GUATTARI
    Stephen Craig Hickman - A Rant...
    Steven Craig Hickman - Children of the Machine
    Steven Craig Hickman - Corporatism: The Soft Fascism of America
    Steven Craig Hickman - Is America Desiring Fascism?
    Steven Craig Hickman - Paul Virilio: The Rhythm of Time and Panic
    Steven Craig Hickman - Kurt Gödel, Number Theory, Nick Land and our Programmatic Future
    Steven Craig Hickman - Speculative Posthumanism: R. Scott Bakker, Mark Fisher and David Roden
    Steven Craig Hickman - Techno-Sorcery: Science, Capital, and Abstraction
    Steven Craig Hickman - Deleuze & Guattari: Abstract Machines & Chaos Theory
    Steven Craig Hickman - JFK: The National Security State and the Death of a President
    Steven Craig Hickman - Against Progressive Cultural Dictatorship
    Steven Craig Hickman - The Great Sea Change
    Steven Craig Hickman - The Daemonic Imaginal: Ecstasy and Horror of the Noumenon
    Steven Craig Hickman - William S. Burroughs: Drugs, Language, and Control
    Steven Craig Hickman - William Burroughs: Paranoia as Liberation Thanatology
    Steven Craig Hickman - The Mutant Prophet of Inhuman Accelerationism: Nick Land and his Legacy
    Steven Craig Hickman - Nick Land: On Time – Teleoplexy & Templexity
    Steven Craig Hickman - Philip K. Dick & Nick Land: Escape to the Future
    Steven Craig Hickman - Philip K. Dick: It’s Alive! – It came here from the future
    Steven Craig Hickman - Fantastic Worlds: From the Surreal to the Transreal
    Steven Craig Hickman - David Roden: Aliens Under The Skin
    Steven Craig Hickman - David Roden and the Posthuman Dilemma: Anti-Essentialism and the Question of Humanity
    Steven Craig Hickman - David Roden on Posthuman Life
    Steven Craig Hickman - David Roden’s: Speculative Posthumanism & the Future of Humanity (Part 2)
    Steven Craig Hickman - Ccru : The Hyperstitional Beast Emerges from its Cave
    Steven Craig Hickman - Sacred Violence: The Hyperstitional Order of Capitalism
    Steven Craig Hickman - The Apocalypse Happened Yesterday
    Steven Craig Hickman - The Intelligence of Capital: The Collapse of Politics in Contemporary Society
    Steven Craig Hickman - Nick Land: Time-Travel, Akashic Records, and Templexity
    Steven Craig Hickman - The Holographic Universe: Black Holes, Information, and the Mathematics
    Steven Craig Hickman - The Machinic Unconscious: Enslavement and Automation
    Steven Craig Hickman - The Carnival of Globalisation: Hyperstition, Surveillance, and the Empire of Reason
    Steven Craig Hickman - Gun Crazy Nation: Violence, Crime, and Sociopathy
    Steven Craig Hickman - Shaviro On The Neoliberal Strategy: Transgression and Accelerationist Aesthetics
    Steven Craig Hickman - La Sorcière: Jules Michelet and the Literature of Evil
    Steven Craig Hickman - American Atrocity: The Stylization of Violence
    Steven Craig Hickman - Lemurian Time Sorcery: Ccru and the Reality Studio
    Steven Craig Hickman - The Consumertariat: Infopocalypse and the Pathologies of Information
    Steven Craig Hickman - Hyperstition: The Apocalypse of Intelligence
    Steven Craig Hickman - The Neoliberal Vision: The Great Escape Artist
    Steven Craig Hickman - The Next Stage
    Steven Craig Hickman - Why Am I Writing Country Noir?
    Steven Craig Hickman - Bataille’s Gift: Wealth, Toxicity, and Apocalypse
    Steven Craig Hickman - Deleuze & Guattari: The Eternal Return of Accelerating Capital
    Steven Craig Hickman - Deleuze & Guattari On the Empire of Capital: The Dog that wants to Die
    Steven Craig Hickman - Deleuze & Guattari: The Eternal Return of Accelerating Capital
    Steven Craig Hickman - Deleuze & Guattari: The Subterranean Forces of Social Production
    Steven Craig Hickman - The Betrayal of Leaders: Reading the Interviews with Deleuze and Guattari
    Steven Craig Hickman - J.G. Ballard: Sleeplessness and Chronotopia
    Steven Craig Hickman - J.G. Ballard: The Carnival of Time
    Steven Craig Hickman - J.G. Ballard: The Fragile World
    Steven Craig Hickman - J.G. Ballard: The Calculus of Desire and Hope
    Steven Craig Hickman - Ballard’s World: Reactivation not Reaction
    Steven Craig Hickman - The Necrophilic Vision of J.G. Ballard
    Steven Craig Hickman - Crash Culture: Panic Shock, Semantic Apocalypse, and our Posthuman Future
    Steven Craig Hickman - J.G. Ballard: The Journey to Nowhere
    Steven Craig Hickman - J.G. Ballard: Chrontopia and Post-Consumerist Society
    Steven Craig Hickman - J.G. Ballard: Chronopolis – Time Cities and the Lost Future
    Steven Craig Hickman - Neurototalitarianism: Control in the Age of Stupidity
    Steven Craig Hickman - Thomas Ligotti: The Abyss of Radiance
    Steven Craig Hickman - Thomas Ligotti: The Red Tower
    Steven Craig Hickman - Thomas Ligotti: Dark Phenomenology and Abstract Horror
    Steven Craig Hickman - Thomas Ligotti: The Frolic and the Wyrd (Weird)
    Steven Craig Hickman - Thomas Ligotti, Miami: The Collapse of the Real
    Steven Craig Hickman - Thomas Ligotti: Vastarien’s Dream Quest
    Steven Craig Hickman - The Epoch of Care: Transindividuation and Technical Individuals
    Steven Craig Hickman - Rethinking Conceptual Universes
    Steven Craig Hickman - Bataille’s Revenge
    Steven Craig Hickman - The Excess of Matter: Bataille, Immanence, and Death
    Steven Craig Hickman - Hyperstition: Metafiction and the Landian Cosmos
    Steven Craig Hickman - Babalon Rising: Amy Ireland, Artificial Intelligence, and Occulture
    Steven Craig Hickman - R. Scott Bakker: Reviews of Yuval Noah Harari’s Homo Deus
    Steven Craig Hickman - R. Scott Bakker: Medial Neglect and Black Boxes
    Steven Craig Hickman - Let Death Come Quickly
    Steven Craig Hickman - Hyperstition Notes: On Amy Ireland
    Steven Craig Hickman - Amy Ireland: Gyres, Diagrams, and Anastrophic Modernism
    Steven Craig Hickman - Accelerationism: Time, Technicity, and Superintelligence
    Steven Craig Hickman - Death & Capitalism: The Sublime War Machine
    Steven Craig Hickman - Deleuze & Guattari: Accelerationism – Diagnosis and Cure?
    Steven Craig Hickman - BwO – Deleuze and Guattari: The Impossible Thing We Are Becoming
    Steven Craig Hickman - Deleuze & Guattari: Culture of Death / Culture of Capital
    Steven Craig Hickman - Deleuze & Guattari & Braidotti: On Nomadic vs. Classical Image of Thought
    Steven Craig Hickman - Vita Activa: Deleuze against the Contemplative Life?
    Steven Craig Hickman - Deleuze’s Anti-Platonism
    Steven Craig Hickman - Deleuze: Transcendental Empiricist? – Fidelity and Betrayal
    Steven Craig Hickman - Poetic Thought for the Day : A Poetics of Sense & Concepts
    Steven Craig Hickman - Wild Empiricism: Deleuze and the Hermetic Turn
    Steven Craig Hickman - A Short History of the City and the Cathedral
    Steven Craig Hickman - Future Society: The Cathedral of Managed Society
    Steven Craig Hickman - Nick Land and Teleoplexy – The Schizoanalysis of Acceleration
    Steven Craig Hickman - Felix Guattari: The Schizo, the New Earth, and Subjectivation
    Steven Craig Hickman - The Gnostic Vision in the Sciences
    Steven Craig Hickman - François Laruelle: Future Struggle, Gnosis, and the last-Humaneity
    Steven Craig hickman - Smart Cities and Dark Neoliberalism
    Steven Craig Hickman - The Governance of the World
    Steven Craig Hickman - ON Dark Realism - Part One
    Steven Craig Hickman - ON Dark Realism: Part Two
    Steven Craig Hickman ​- ON Dark Realism: Part Three
    Steven Craig Hickman - In the time of capital
    Steven Craig Hickman - Niklas Luhmann: Mass-Media, Communications, and Paranoia
    Steven Craig Hickman - Deleuze/Guattari: ‘Stop the World!’
    Steven Craig Hickman - The Schizorevolutionary Project : Escaping to the Future of New Earth
    Steven Craig Hickman - Deleuze/Guattari: The Four Schizoanalytical Thesis
    Steven Craig Hickman - The Dark Side of Time
    Steven Craig Hickman - Digital Dionysus: R. Scott Bakker
    Steven Craig Hickman - Hyperstition: Technorevisionism – Influencing, Modifying and Updating Reality
    Steven Craig Hickman - Paul Virilio: The Anti-City
    Steven Craig Hickman - Maurizio Lazzarato: Homage to Felix Guattari
    Steven Craig Hickman - Phantom Monsters: Nationalism, Paranoia, and Political Control
    Steven Craig Hickman - Memory, Technicity, and the Post-Human
    Steven Shaviro - Accelerationism Without Accelerationism
    Steven Craig Hickman - Posthuman Accelerationism
    Steven Craig Hickman - The Age of Speed: Accelerationism, Politics, and the Future Present
    Steven Craig Hickman - Weird Tales: Essays and Other Assays
    Thomas Nail on Deleuze and Badiou - Revolution and the Return of Metaphysics
    Terence Blake - LOVECRAFT NOETIC DREAMER: from horrorism to cosmicism (Part 1)
    Terence Blake - LOVECRAFT NOETIC DREAMER: from horrorism to cosmicism (Part 2)
    Terence Blake - SYSTEM AND CLARITY IN DELEUZE’S OPUS
    Terence Blake - UNCONSCIOUS JUNGIANS
    Terence Blake - BADIOU’S HORSESHOE: substance vs sparks
    Terence Blake - ZIZEK, DELEUZE, JUNG: the analogical self versus the digital ego
    Terence Blake - THERE IS MADNESS IN THIS METHOD
    Terence Blake - IS OLD AGE A CONCEPT?: Notes on Deleuze and Guattari’s “What is Philosophy?” (1)
    Terence Blake - CONCEPTS OUT OF THE SHADOWS: Notes on Deleuze and Guattari’s “What is Philosophy?” (2)
    Terence Blake - TRANSVALUE DELEUZE: an ongoing project
    Terence Blake - DELEUZE: philosopher of difference or philosopher of multiplicity
    Terence Blake - CONVERSATION WITH DELEUZE: pluralist epistemology and life
    Terence Blake - LARUELLE AND DELEUZE: from difference to multiplicity
    Terence Blake - LARUELLE’S “QUANTUM”: nostalgic obscurity and the manipulation of stereotypes
    Terence Blake - LARUELLE AND WAVE ABSOLUTISM: against quantum integrism
    Terence Blake - LARUELLE’S BLINDSPOTS: Deleuze on style, heuristics, and the topography of thought
    Terence Blake - LARUELLE’S DE-PHILOSOPHY: confirmation bias legitimated
    terence blake - DELEUZE’S REPLY (1973) TO LARUELLE’S CRITIQUE (1995)
    Terence Blake - FROM NON-STANDARD TO SUB-STANDARD: Laruelle’s syntax of scientism
    Terence Blake - STIEGLER, “IDEOLOGY”, AND POST-STRUCTURALISM
    Terence Blake - Deleuze, Klossowski, and Hillman on psychic multiplicity
    Terence Blake - DELEUZE, BADIOU, LARUELLE, CIORAN: a plea for polychromatic vision
    Terence Blake - Do we need to escape from metaphysics?
    Terence Blake - DELEUZE’S PLURALIST AUTO-CRITIQUE
    Terence Blake - DELEUZE’S AGON: schizophrenising Lacan
    Terence Blake - GUATTARI “LINES OF FLIGHT” (1): the hypothesis of modes of semiotisation
    Terence Blake - GUATTARI’S LINES OF FLIGHT (2): transversal vs transferential approaches to the reading contract
    Terence Blake - Felix Guattari and Bernard Stiegler: Towards a Post-Darwinian Synthesis
    Terence Blake - EXPLAINING A SENTENCE BY GUATTARI
    Terence Blake - CLEARING DELEUZE: Alexander Galloway and the New Clarity
    Terence Blake - DELEUZE: HOW CAN YOU STAND THOSE SCHIZOS?
    Terence Blake - No Cuts!: Deleuze and Hillman on Alterity
    Terence Blake - NOTES ON DELEUZE’S “LETTER TO A SEVERE CRITIC” (1): against Zizek
    Terence Blake - PRINCIPLES OF NON-PHILOSOPHY: creative tension or self-paralysing conflict
    Terence Blake - NOTES ON DELEUZE’S “LETTER TO A SEVERE CRITIC” (2): against Laruelle
    Terence Blake - NOTES ON DELEUZE’S “LETTER TO A SEVERE CRITIC” (3): against Badiou
    Terence Blake - DELEUZE WITHOUT LACAN: on being wary of the “middle” Deleuze
    Terence Blake - ON THE INCIPIT TO DELEUZE AND GUATTARI’S “WHAT IS PHILOSOPHY?”
    Tithi Bhattacharya / Gareth Dale - COVID CAPITALISM. GENERAL TENDENCIES, POSSIBLE “LEAPS”
    The German Ideology - Karl Marx and Friedrich Engels (excerpts)
    Reza Negarestani - Mene, Mene, Tekel, Upharsin (Reading Applied Ballardianism)
    Reza Negarestani - What Is Philosophy? Part 1: Axioms and Programs
    Reza Negarestani - What Is Philosophy? Part 2: Programs and Realizabilities
    H. P. Lovecraft - The Call of Cthulhu: Chapter 1: The Horror in Clay
    H. P. Lovecraft- The Call of Cthulhu: Chapter 2: The Tale of Inspector Legrasse
    H. P. Lovecraft - The Call of Cthulhu: Chapter 3: The Madness from the Sea
    Henry Bergson - One of the most famous and influential French philosophers
    Henri Bergson - Philosophical Intuition (Part 1)
    Henri Bergson - Philosophical Intuition (Part 2)
    Himanshu Damle - The Eclectics on Hyperstition. Collation Archives.
    Himanshu Damle - Killing Fields
    Himanshu Damle - Topology of Dark Networks
    Himanshu Damle - Games and Virtual Environments: Playing in the Dark. Could These be Havens for Criminal Networks?
    Himanshu Damle - OnionBots: Subverting Privacy Infrastructure for Cyber Attacks
    Himanshu Damle - Deanonymyzing ToR
    Himanshu Damle - A Time Traveler in Gödel Spacetime
    Himanshu Damle - Evolutionary Game Theory
    Himanshu Damle - 10 or 11 Dimensions? Phenomenological Conundrum
    Himanshu Damle - Geometry and Localization: An Unholy Alliance?
    Himanshu Damle - Typicality. Cosmological Constant and Boltzmann Brains.
    Himanshu Damle - Production of the Schizoid, End of Capitalism and Laruelle’s Radical Immanence
    Himanshu Damle - Where Hegel Was, There Deconstruction Shall Be:
    Himanshu Damle - Something Out of Almost Nothing. Drunken Risibility.
    ​Himanshu Damle - Hegelian Marxism of Lukács: Philosophy as Systematization of Ideology and Politics as Manipulation of Ideology.
    Himanshu Damle - Orthodoxy of the Neoclassical Synthesis
    Himanshu Damle - Intuition
    Himanshu Damle - Transcendentally Realist Modality
    Himanshu Damle - Dark Matter as an Ode to Ma Kali.
    Himanshu Damle - Knowledge Within and Without: The Upanishadic Tradition (1)
    Himanshu Damle - |, ||, |||, ||||| . The Non-Metaphysics of Unprediction.
    Himanshu damle - Philosophy of Dimensions: M-Theory.
    Himanshu Damle - Quantum Informational Biochemistry
    Himanshu Damle - Accelerated Capital as an Anathema to the Principles of Communicative Action
    Hyperstitional Carriers
    Hyperstition - Sorcerers and Necromancers: sorcery and the line of escape part II
    Hyperstition - Sorcerers and Necromancers: lines of escape or wings of the ground? part IV
    Nick Land - Cathedralism
    Nick Land - An Interview: ‘THE ONLY THING I WOULD IMPOSE IS FRAGMENTATION’
    Nick Land - Teleoplexy (Notes on Acceleration)
    Nick Land - The unconscious is not an aspirational unity but an operative swarm
    Nick Land - The curse of the sun (Part 1)
    Nick Land - The curse of the sun (Part 2)
    Nick Land - The curse of the sun (Part 3)
    Nick Land - Transgression (Part 1)
    Nick Land - Spirit and Teeth
    Nick Land - Occultures (Part 1)
    Nick Land - Occultures (Part 2)
    Nick Land - A Dirty Joke
    N Y X U S - Traffic
    Paul Virilio - Interview : TERROR IS THE REALIZATION OF THE LAW OF MOVEMENT
    Paul Virilio - Interview: ADMINISTRATING FEAR: TOWARDS CIVIL DISSUASION
    Paul Virilio - Interview : Speed-Space
    Paul Virilio - a topographical Amnesia
    Paul Virilio - Public Image
    Paul Virilio - The vision Machine ( Part 1)
    Paul Virilio - The Vision Machine (Part 2)
    Paul Virilio - The Information Bomb: A Conversation
    Peter Zhang - The four ecologies, postevolution and singularity
    Peter Zhang and Eric Jenkins - Deleuze the Media Ecologist? Extensions of and Advances on McLuhan
    vastabrupt - Time War // Briefing for Neolemurian Agents
    XENOBUDDHISM - NONORIENTED ACCELERATIONISM
    Xenosystems - Meta-Neocameralism
    XENOMACHINES - Fiction as Method: Bergson
    youandwhosearmy? - BERGSONIAN SCIENCE-FICTION: DELEUZE, ESHUN, AND THINKING THE REALITY OF TIME

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