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Affect Methodologies of Gilles Deleuze
Affect Methodologies of Gilles Deleuze
Affect Methodologies of Gilles Deleuze
Niina Keks
London
June 2013
Introduction
affect
What Children Say belongs to compendium of essays: Essays: Critical and Clinical
published in 1993 in French and translated into English in 1997.
2
As Deleuze collaborated very closely with Felix Guattari during his life, as well as writing
many of his main pieces of writing in collaboration with him, then I will refer mostly to Deleuze,
and only to Deleuze and Guattari when I am talking about the particular books that they wrote
together.
3
You can take a concept that is particularly to your liking and jump with it to its next
appearance. They tend to cycle back. Some might call that repetitious. Deleuze and Guattari
call it a refrain. (Deleuze and Guattari, 1987 p. xv)
It seems like his text is breathing and that the concepts a reader is seeing are
shooting towards each other in every direction. They are all connected in a
way, that Deleuze would call rhizomatic. I would agree with Simon OSullivan
who wrote about A Thousand Plateaus4 in his book on Deleuze and Guattari:
To read it as a purely scholarly text, to read it simply for meaning, is to
position it always already within that field that it writes against
representation (OSullivan, 2006 p. 9). An attempt to create some kind of
representational system out of these connections of thoughts would almost
mean,killing the thought. And then again, would it?
As for Deleuze and Guattari a concept is not freestanding because it
presupposes a plane of immanence and because Deleuzes philosophy is an
immanent critique he is theorizing about his philosophy as well as applying it
in his texts at the same time, then by choosing one concept in Deleuzes
rhizomatic philosophy affect, a concept Deleuze is saying isindeterminate5 I
am going to show its connections to a selection of his other concepts on his
plane of immanence. I am going to do that in comparison with the
representational philosophy that Deleuze is differentiating himself from in
this case with the philosophy, or more precisely with the psychoanalytic
method, of Sigmund Freud.
Children never stop talking about what they are doing or trying to do: exploring
milieus by means of dynamic trajectories, and drawing up maps of them. The
maps of these trajectories are essential to psychic activity. Little Hans wants
to leave his familys apartment to spend the night at the little girls downstairs
and returns in the morning the apartment building as milieu. Or again: he
wants to leave the building and go to the restaurant to meet with the little rich
girl, passing by the horses at the warehouse the street as milieu. Even
Freud deems the intervention of a map to be necessary. (Deleuze, 1997 p. 61)
Freud is one of the many that Deleuze is trying to differentiate from according to Deleuze
and Guattari, he belongs to the type of root-tree thinkers, the concept of which I am going to
explain more further on.
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Oedipus refers to a 5th-century BC Greek mythological character Oedipus, who unwittingly
kills his father, Laius, and marries his mother, Jocasta. A play based on the myth, Oedipus
Rex, was written by Sophocles, ca. 429 BC. Sigmund Freud attended one of the modern
productions of Sophocles' play, and in his book The Interpretation of Dreams(1899), he
proposed that an Oedipal desire is a universal, psychological phenomenon innate to human
beings, and the cause of much unconscious guilt.
Talking about the Oedipus complex in particular, Freud has said in his book The
Interpretation of Dreams: His fate moves us only for the reason that it might have been ours,
for the Oracle has put the same curse upon us before our birth as upon him. Perhaps we are
all destined to direct our first sexual impulses towards our mothers and our first hatred and
our first murderous wishes towards our fathers; our dreams convince us of it. (Freud, 1913 p.
223)
9
Instead doesnt mean that Deleuze and Guattari would like to forget or delete all root-tree
philosophies. I will talk about this more further on in the essay.
10
Deleuze and Guattari describe the characteristics of a rhizome profoundly in the first
chapter of A Thousand Plateaus. Considering that they would all need an extensive
discription, in this essay I will only mention and describe a relevant selection of them.
1987 p. 15). However, for Deleuze, parents are only one part of the milieu, of
the map, alongside with other qualities, substances, powers, and events that
children travel through. Furthermore, Deleuze says: the trajectory merges not
only with the subjectivity of those who travel through a milieu but also with the
subjectivity of the milieu itself, insofar as it is reflected in those who travel
through it (Deleuze, 1997 p. 61). The same relationship that Freuds parentsidea has to Deleuzes milieu (being a part of it, but not the only part) we can
think also of Freud and his root-tree psychoanalysis having to Deleuzes
rhizomatic philosophy. As Deleuze and Guattari say it themselves: To be
rhizomorphous is to produce stems and filaments that seem to be roots, or
better yet connect with them by penetrating the trunk, but put them to strange
new uses (Deleuze and Guattari, 1987 p. 17).
As we can see in What Children Say, Freud and psychoanalysis confines
every desire and statement to a genetic axis or overcoding structure an
unconscious that is already there from the start, lurking in the dark recesses
of memory and language (Deleuze and Guattari, 1987 p. 13). This brings me
to the second point in the essay that brings us closer to grasping Deleuzes
affect
methodologies.
According
to
Deleuze,
Freuds
conception
of
in
the
past.
Unconscious
is
therefore
memorial,
the key themes in Deleuzes work which we can count as an antidote to the
westerns tradition of predominant focus upon being and identity. If the latter
defines a world of re-presentation (as it is in Freuds case), then Deleuzes
becoming defines a world of presentation anew. Some characteristics 11 of
becoming are that of continual, moving, dynamic, without a goal it moves
through every event, such that each is simultaneously start-point, end-point
and mid-point of an ongoing cycle of production (Parr, 2005 p. 22).
The human subject, for example, ought not to be conceived as a stable,
rational individual, experiencing changes but remaining, principally, the same
person. Rather, for Deleuze, ones self must be conceived as a constantly
changing assemblage of forces, an epiphenomenon arising from chance
confluences of languages, organisms, societies expectations, laws and so on.
(Parr, 2005 p. 22)
The notions of map, unconscious, and becoming are very closely related to
Deleuzes notion of affects, which brings us to the third and final point I would
like to discuss. Deleuze says in What Children Say: Maps should not be
understood only in extension, in relation to a space constituted by trajectories.
There are also maps of intensity, or density, that are concerned with what fills
space, what subtends the trajectory (Deleuze, 1997 p. 64). Deleuze goes on
stating how little Hans makes lists of affects in his conversation and how
exactly this distribution of affects is what constitutes a map of intensity. Freud,
on the contrary, claims that instead of these direct affects, it is again the
unconscious memory of childs past that influences the childs libido. For
Deleuze a list or constellation of affects, an intensive map, is a becoming
(Deleuze, 1997 p. 64), which in turn brings us to Deleuzes understanding of
art. There is no straight definition of affect as such in Deleuzes work 12 ;
however, art can bring us closer to the understanding of it, while clearing
Deleuzes understanding of art and his philosophy at the same time.
One way to talk about affect connected to the previous discussion about
rhizome is to think of it as an experimental milieu, an experimental map.
Simon OSullivan writes in his book Art Encounters Deleuze and Guattari
11
how the realm of affect is all around us and there are as many different
strategies for accessing it, as there are subjects (OSullivan, 2006 p. 47). He
says: Here it is a question of making yourself a Body without Organs13, the
latter understood, in this context, as a strategy for accessing that which is
normally outside yourself (that is, outside your signifying self), your
experimental milieu which everywhere accompanies your sense of identity
(OSullivan, 2006 pp. 47-48). So how is this connected to art then? According
to Deleuze, affects make up life and art: a thing or a work of art is a block of
sensations, a compound of percepts and affects. He explains this further in
What is Philosophy: Percepts are no longer perceptions; they are
independent of a state of those who experience them. Affects are no longer
feelings or affections; they go beyond the strength of those who undergo
them (Deleuze and Guattari, 1994 p. 164). Sensations, affects and
perceptions make up art works whose validity lies in themselves and exceeds
any lived (Deleuze and Guattari, 1994 p. 164). Therefore, we can see that for
Deleuze, art is not a way of representing experiences and memories that we
might recognizeexactly that which was Freuds metaphysical project of the
dialectic of presence and lack. Again, Freud connects art and its creation to
the Oedipus complex. He claims that art is a representation of an artists
infantile memories based on an unconscious lack and repressed desire as
well as a possibility for an artist to become conscious of this repression
through art14. Freud makes desire nothing but expressive, an expression of
the insistentOedipal drama. For Deleuze and Guattari, however, Oedipal
desires are the bait, the disfigured image by means of which repression
catches desire in the trap (Deleuze and Guattari, 1983 p. 116). Alternatively,
Deleuze defines desire by what it does not what it is desire is a machinic
production of reality:
Thus desire has to be understood, just as difference has to be understood, as
serving a strategic function it enables a certain phenomenon to be thought,
but does not claim to be adequate to it. Desire neither expresses, nor
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Conclusion
and discussed in Deleuzes essay What Children Say are concepts Deleuze
has either invented or pulled out from their everyday habitual use and given a
new meaning. In fact, this is what philosophy is in Deleuzian sense not only
is it the art of forming, inventing, and fabricating concepts (Deleuze and
Guattari, 1994 p. 2) but it needs to create concepts which are always new.
As we can see from the essay all these concepts are also connected with
each other (although in many different ways, such that their nature in turn is
transformed) they presuppose a plane of immanence (Deleuze names it
also a plane of consistency, a table, a plateau, a slice etc.), which is another
important point concerning a philosophy. However, a plane of immanence is
not itself a concept it must remain open: it represents the field of becoming,
a space containing all of the possibilities inherent in forces (Parr, 2005 p.
204).
Another important point to consider that emerges from the essay is that
except creating new concepts and laying them on a plane of immanence, a
philosophy (in Deleuzian sense) also always
needs to incorporate
All three points discussed and concepts mentioned in the essay could in some
way be called Deleuzian methodology as they are all connected in such a way
that it is almost impossible to talk about one without the other. However, there
is a reason for my choice to title the essay affect methodologies. Ronald
Bogue has said, based on his reading of Anti-Oedipus, that Freuds
10
Bibliography
11
Bogue, Ronald (2009) Sigmund Freud. In: Graham, J. and Roffe J. ed.
Deleuzes Philosophical Lineage. Edinburgh: Edinburgh University
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Deleuze, Gilles and Guattari, Flix (1983) Anti-Oedipus: Capitalism and
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