Microsoft Word Deleuze, Guattari- a thousand Plateaus

 

NOTES TO PP. 498-499 □ 575

 

anticipated this objection: "Instead of the regular and invariably geometrical star or rosette or 

similar restful forms, in the North we find the revolving wheel, the turbine or the so-called sun 

wheel, all designs which express violent movement. Moreover, the movement is peripheral 

and not radial" (Form in Gothic, p. 54). The history of technology confirms the importance of 

the turbine in the life of the nomads. In another, bio-aesthetic, context, Gabriel Tarde opposes 

repetition as indefinite potential (puissance) to symmetry as limitation. With symmetry, life 

constituted an organism for itself, taking a star-shaped or reflected, infolded form (the radiata 

and mollusks). It is true that in doing so it unleashed another type of repetition, external 

reproduction; see L 'opposition universale (Paris: Alcan, 1897).

 

35.  [

TRANS

:

 

Worringer, Abstraction and Empathy, p. 33] 

36.  [

TRANS

:

 

Worringer, Abstraction and Empathy, p. 42] 

37.  On all of these points, see Georges Charriere's very intuitive book, Scythian Art (New 

York: Alpine Fine Arts Collection, 1979), which includes a great number of reproductions. It 

is doubtless Rene Grousset who has most effectively emphasized "slowness" as a dramatic 

pole of nomad art: The Empire of the Steppes, pp. 13-14. 

38.  Dora Vallier, in her preface to the French translation of Abstraction and Empathy 

(Abstraction et Einfuhlung [Paris: Klincksieck, 1978]), is right to note Worringer and 

Kandinsky's independence from one another, and the differences between the problems they 

were addressing. However, she maintains that there is still convergence and resonance 

between them. In a sense, all art is abstract, with the figurative springing from certain types of 

abstraction. But in another sense, since there are very different types of lines 

(Egyptian-geometrical, Greek-organic, Gothic-vital, etc.), the question then becomes one of 

determining which line remains abstract, or realizes abstraction as such. It is doubtful that 

it is the geometrical line, since it still draws a figure, even though an abstract and 

nonrepresentative one. Rather, the abstract line is that defined by Michael Fried in relation to 

certain works by Pollock: multidirectional, with neither inside nor outside, form nor 

background, delimiting nothing, describing no contour, passing between spots or points, 

filling a smooth space, stirring up a close-lying haptic visual matter that "both invites the act of 

seeing on the part of the spectator yet gives his eye nowhere to rest once and for all," (Three 

American Painters [Cambridge, Mass.: Fogg Art Museum, 1965], p. 14). In Kandinsky 

himself, abstraction is realized not so much by geometrical structures as by lines of march 

or transit that seem to recall Mongolian nomadic motifs. 

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Bibliography

 

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Bibliography

 

(compiled by Brian Massumi)

 

I before an entry indicates an interview.

 

P before an entry indicates a preface, postface, introduction, or afterword.

 

by Gilles Deleuze and Felix Guattari

 

English

 

Anti-Oedipus: Capitalism and Schizophrenia. Preface by Michel Foucault. Trans. Robert 

Hurley, Mark Seem, and Helen R. Lane. New York: Viking, 1977; rpt. Minneapolis: Uni-

versity of Minnesota Press, 1983. Translation of VAnti-Oedipe.

 

Kafka: Toward a Minor Literature. Trans. Dana Polan. Minneapolis: University of Minnesota 

Press, 1986. Translation of Kafka: Pour une litt'erature mineure.

 

Nomadology: The War Machine. Trans. Brian Massumi. New York: Semiotext(e), 1986. 

Translation of Chapter 12 of Mille Plateaux.

 

On the Line. Trans. John Johnston. New York: Semiotext(e), 1983. Translation of "Rhizome" 

(the final version published in Mille plateaux) and "Politics" (Chapter 6 of Dialogues).

 

A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: 

University of Minnesota Press, 1987. Translation of Mille Plateaux.

 

"Balance Sheet-Program for Desiring-Machines." Trans. Robert Hurley. Semiotext(e), 

Anti-Oedipus,  vol. 2, no. 5 (1977), pp. 117-135. Translation of "Bilan-programme 

pour machines desirantes."

 

"Becoming-Woman." Trans. Brian Massumi. Subjects/Objects,  no. 3 (Spring 1985), pp. 

24-32. Extracts from Chapter 10 of Mille Plateaux.

 

"A Bloated Oedipus." Trans. Rachel McComas. Semiotext(e), Polysexuality, vol. 4, no. 1

 

579

 

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5

80 D BIBLIOGRAPHY

 

(1981), pp. 97-101. Abridged translation of Chapter 2 of Kafka: Pour une litt'erature

 

mineure. "City-State." Trans. Brian Massumi. Zone, no. 1 /2 (1985), pp. 195-199. Extract 

from Chapter

 

13 of Mille Plateaux. "Concrete Rules and Abstract Machines." Trans. Charles Stivale. 

Sub/Stance, vol. 13, nos.

 

3/4 (1984), pp. 7-19. Translation of Chapter 15 of Mille Plateaux. "How to Make 

Yourself a Body without Organs." Trans. Suzanne Guerlac. Semiotext(e),

 

Polysexuality, vol. 4, no. 1(1981), pp. 265-270. Abridged translation of "Comment se 

faire

 

un corps sans organes," first version. "The Interpretation of Utterances." With Claire 

Parnet and A. Scala. Trans, and ed. Paul Foss

 

and Meaghan Morris. In Language, Sexuality and Subversion. Ed. Paul Foss and 

Meaghan

 

Morris. Sydney: Feral Publications, 1978, pp. 141-157. Papers delivered at the Milan con-

ference on Psychoanalysis and Politics (May 1973); published in Deleuze and Guattari,

 

Politique et psychanalyse. "One or Several Wolves?" Trans. Mark Seem. Semiotext(e), 

Anti-Oedipus, vol. 2, no. 3 (1977),

 

pp. 137-147. Translation of "Un seul ou plusieurs loups?", first version. "Nomad Art." 

Trans. Brian Massumi. Art and Text, no. 19 (Oct.-Dec. 1985), pp. 16-24.

 

Extracts from Chapter 14 of Mille Plateaux. "Rhizome." Trans. Paul Foss and Paul 

Patton. In Ideology and Consciousness, no. 8 (Spring

 

1981), pp. 49-71. Translation of Rhizome (the first version, published as a separate book).

 

"What Is a Minor Literature?" Trans. Robert Brinkley. Mississippi Review, vol. 2, no. 3

 

(Winter/Spring 1983), pp. 13-33. Translation of Chapter 3 of Kafka.

 

French

 

I'Anti-Oedipe. Vol. 1 of Capitalisme et schizophrenic. Paris: Minuit, 1972; 2nd ed., 1973, with 

added appendix, "Bilan-Programme pour machines desirantes."

 

Kafka: Pour une litt'erature mineure. Paris: Minuit, 1975.

 

Mille Plateaux. Vol. 2 of Capitalisme et schizophrenie. Paris: Minuit, 1980.

 

Politique et psychanalyse. Alencon: Bibliotheque des Mots Perdues, 1977. Texts from the 

Milan conference on Psychoanalysis and Politics (May 1973). Contains: "La place du 

signifiant dans l'institution," Guattari (revised version reprinted in La revolution 

moleculaire, and included in the English edition); "Psychanalyse et politique," Guattari; 

"Quatre propositions sur la psychanalyse," Deleuze; and "L'interpretation des enonces," 

Deleuze, Guattari, Claire Parnet, and Andre Scala.

 

Rhizome. Paris: Minuit, 1976. Modified and reprinted as the introduction to Mille Plateaux.

 

"Bilan-Programme pour machines desirantes." Minuit,  no. 2 (January 1973), pp. 1-25. 

Reprinted as appendix to second edition of I'Anti-Oedipe.

 

Discussions, in Francois Fourquet and Lion Murard, Les equipements de pouvoir (Paris: 

10/18,1976), pp. 39-47,161-195,212-227. Revised version of Recherches, no. ^Decem-

ber 1973], Les equipements collectifs.

 

"Le nouvel arpenteur. Intensites et blocs d'enfance dans 'le Chateau.'" Critique, vol. 29, no. 

318 (November 1973), pp. 1046-1054.

 

"La synthese disjonctive." L'Arc, Klossowski, no. 43 (1970), pp. 54-62. Modified and 

reprinted as Chapter 2, part 4 of VAnti-Oedipe.

 

"Un seul ou plusieurs loups?" Minuit, no. 5 (Sept. 1973), pp. 2-16. Modified and reprinted as 

Chapter 2 of Mille Plateaux.

 

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