Theater // Lost to Inflation

Müller: In our country [of East Germany circa 81], theater allows you to have five or eight hundred people together in one room reacting at the same time, in a the same space, to what is going on onstage. The impact of the theater here is based on the absence of other ways of getting messages across to people. Films are not as important because there’s so much control. They also require much more money than the theater. As a result, theater here has taken over the function of the other media in the West. I don’t believe theater has such a great in West German for instance. You can do anything onstage there, but it doesn’t mean anything to the society. Here the slogan of the Napoleonist era still applies: theater is the revolution on the march.

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death to “flat ontology”

Too much peddling in ‘flat ontology’ when it should really be process ontology.

(not to even mention the impossibly pernicious ‘paracite‘ of D&G that claims ‘ontology first’ when it’s really ‘politics first’ –> “For politics precedes being. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines […]” ATP, 203).

To put the false Deluezism of ‘flat ontology’ to rest, I present to you a wonderfully strong philosophical reading of the rapport between the molar/molecular in ATP. Note, this does away with any lingering base/superstructure that may have tinged Anti-Oedipus. Rather, it’s the ‘telescopic’ doubling also called reflexive clearly articulated through Hjemselv, but found in other places like Luhmann, and expanded into the general D&G metaphysics, but missed by DeLanda… Continue reading “death to “flat ontology””