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One two different fronts I’m engaging Deleuze and Deleuze and Guattari. In my reading group, I am rereading Anti-Oedipus; with my co-conspirator, I’m slogging through Difference and Repetition. I’m sure this intense intellectual preoccupation has nothing to do with the fact that I’m reading D and D & G in nearly every essay on Photography…

Take, for example, Man Ray :
“For what can be more binding amongst beings than the discovery of a common desire? And what can be more inspiring to action than the confidence aroused by a lyric expression of this desire? From the first gesture of a child pointing to an object and simply name it, but with a world of intended meaning, to the developed mind that creates an image whose strangeness and reality stirs our subconscious to its inmost depths, the awakening of desire is the first step to participation and experience.”

or maybe this:

“No plastic expression can ever be more than a residue of an experience. The recognition of an image that has tragically survived an experience, recalling the event more or less clearly, like the undisturbed ashes of an object consumed by flames…”

or maybe even this:

“Each one of us, in his timidity, has a limit beyond which he is outraged. It is inevitable that he who by concentrated application has extended this limit for himself, should around the resentment of those who have accepted conventions which, since accepted by all, require no initiative of application. And this resentment generally takes the form of meaningless laughter or of criticism, if not of persecution. But this apparent violation is preferable to the monstrous habits condoned by etiquette and estheticism.”

What seems more germane is perhaps the spirit in which Man Ray is writing, one that embodies the same spirit of Deleuze (and yes, Guattari too, but I find I respond more to D’s thinking in general.) In each case, each quote recalls moments of the above two texts I’m reading. As Deleuze puts forward a new kind or orientation towards the material world, the virtual and pure difference as a way to get outside of a dogmatic image of thought, D & G continue this orientation through schizoanalysis and the embrace of the schizo’s way of moving through the world. Both instances argue for a need to move beyond representation and the eventual labeling and categorization that makes the adoption of habits or the ‘illegitimate’ synthesis so damaging.

Regardless, it seems that everywhere I look, I see the spirit of Deleuze’s thinking. As I was talking with my friend last night, finding these ‘minor’ voices/positions seems like a pretty productive line as I pull together the dominant lines of the history of photographic discourse.

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