alienTitle: Dark Deleuze: A Glossary

Author: Andrew Culp, PhD, The Ohio State University

Abstract: This paper explores the Dark Deleuze by dramatizing the difference between joyfully creating concepts and apocalyptically destroying worlds. Contextualizing this dispute in recent work, the paper draws a contrast between the use of Gilles Deleuze’s thought for a realist ontology of the object and a revolutionary materialism of destruction.

The contemporary turn to realist ontology commonly adopts Deleuze’s metaphysics of positivity (DeLanda 2002; Bryant 2011; Protevi 2013). The basis for the realist side of Deleuze is perhaps best evinced by his biography: those who knew Deleuze consistently note his firm commitment to joyful affirmation and his distaste for the ressentiment of negativity (Dosse 2010 [2007]). Beatifying this sentiment, Deleuze has been used to establish a whole canon of joy. In the canon of joy, the cosmos is a complex collection of assemblages produced through the ongoing processes of differentiation (Stengers 2011, Braidotti 2005/2006; DeLanda 2006; DeLanda 2011). The effect of this image of thought is a sense of wonder but also the joy of creating concepts for knowing how the world really exists.

A different Deleuze, a darker one, has slowly cast its shadow. Emerging from scholars concerned with the condition of the present, the darkness refashions a revolutionary Deleuze; revolutionary negativity in a world characterized by compulsory happiness, decentralized control, and overexposure (Caserio et al 2005; Galloway 2006; Lovink 2014). The refashioned Deleuze forms a counter-canon out of the perfuse negativity of his concepts and affects.* On the level of concept, negativity impregnates the many prefixes of difference, becoming, movement, and transformation: de-, a-, in-, and non-. On the level of affect, Deleuze talks of indiscernibility and concealment, the shame of being human, and monstrous power of the scream. The ultimate task of this approach is not the creation of concepts, and to the extent that it does, the Dark Deleuze creates concepts only to write apocalyptic science fiction (Deleuze 1994 [1968], xx-xxii).

It is time to move from the chapel of joy to the darkness of the crypt.

There are two parts to my Dark Deleuze counter-canon project: a philosophical justification of Dark Deleuze based on textual evidence and a consideration of recent secondary literature; a description of terms that outlines the elements of the counter-canon for use.

Neither of the two parts has been published yet. I leave it up to the editors of xxxx to determine which half of the project they would prefer.

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WordPress.com no longer supports Prezi embedding, so if it does not work, simply view the presentation here.

*Those of you using Ghostery or related blocking extensions will not see the above Soundcloud embed of the audio.

Special thanks to Keith @ My Desiring Machines and Cheryl @ Deleuzian Excursus for making this possible.

Digression I just cut from a paper:

Hardware alone appears meaningless. When you gaze into an electric circuit, nothing gazes back into you. Software’s visual environments seem to be the real point of access – in particular, operating systems populated by desktops and recycling bins (Chun, “On Software, or the Persistence of Visual Knowledge,” 43). Transistors are not represented on the screen here. This is not to say that software exists independent from hardware. In fact, the basic function of hardware is to emit “signifiers of voltage differences” (Kittler, “There Is No Software,” 150). What connects hardware and software is then a “functional analogy to ideology” (43). Continue Reading »

“It is raining,” philosopher Louis Althusser writes. These words: a declaration; a marked change in the world outside; an announcement about the rain felling outside Althusser’s room at the Sainte-Anne clinic in late 1982. Only then, two years after his scandalous psychotic fit, did he begin writing again.[1] Peering through the window to outside, Althusser ended his dry spell with a book “before all else,” “about ordinary rain.”[2] Such ordinary rain is not the common sense notion of rain that pertains to water falling from the sky. Althusser’s rain is far more commonplace: it is the underground current of materialism that runs through the history of philosophy (“The Underground Current of the Materialism of the Encounter,” 167). This watershed year also marked the emergence of another type of rain, which is seen through an altogether different window. 1982 was the year Time magazine named “the computer” its personal of the year. Three decades later, we now watch the streams that rush across our digital screens.

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If you’ll be in the area, join me for this presentation in Seattle later this month.


Those who knew Gilles Deleuze consistently note his firm commitment to joyful affirmation and his distaste for the ressentiment of negativity. Beatifying this sentiment, Deleuzians have established a whole canon of joy. But what good is joy in this world of compulsive positivity?

It is time to move from the chapel to the crypt. There is sufficient textual evidence to establish this counter-canon. And from it, we can create a glossary of the “Dark Deleuze.”

Joyous: Dark:
Our Task Create Conceptions Destroy Worlds
Substance Techno-Science Political Anthropology
Existence Genesis Transformation
Ontology Realism Materialism
Subjects Assemblages Un-becoming
Speed Acceleration Withdrawal Continue Reading »


From Chapter 4 of Jonathan Crary’s 24/7, which I just taught:

Chantal Akerman’s film D’Est (From the East), made in 1 992 and early 1993, carries a heightened self-consciousness about the circumstances of this weighty historical moment. Shot mainly [122] in Poland and Russia in the year and a half following the dissolution of the Soviet Union, it discloses a world in suspension, on the edge of an undetermined future, yet still weighed down by long-standing patterns and habits. Using very long takes, it is an extended portrayal of certain textures of everyday life, sometimes suggesting a Sartrean seriality. In her essay on D’Est, Akerman famously declared that she felt the need to make the film “while there’s still time” (“tant qu’il en est encore temps”).11 In one sense, she meant that she had to finish the project before it was too late, before cultural and economic forces transformed the subject of her work into something different, even unrecognizable. But, given the choices she made ofwhat to record, “while there’s still time” is also a way of saying: while there is still a world of time-in­ common, a world sustained by a collective inhabiting and sharing of time and its rhythms, in the older sense of the word “quotidian.” Continue Reading »


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