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Gilles
Deleuze & Felix Guattari
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 What
is Philosophy? by Gilles
Deleuze, Hugh Tomlinson (Translator), Felix
Guattari (Editor).
Deleuze, one of France's leading philosophers,
and collaborator Guattari detail their conception of philosophy
and discuss their understanding of the relationships between
philosophy, science and the arts. They then explore the
connection between philosophy and the history of social and
cultural developments in the West...
 Click
here to learn more about this book
Click
here for more Deleuze & Guattari Books
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This site consists of a list of references. Including:
- "I
Have Nothing to Admit" Deleuze, Gilles.
- Nietzsche,
Polytheism and Parody. Klossowksi, Pierre. Extract. Trans.
- "Whatever
happened to neorealism? Bazin, Deleuze, and Tarkovsky's long take."
Beasley-Murray, Jon.
- "Deleuze,
Guattari, and the Human Security System". Beasley-Murray, Jon.
- "A
Nomadic Philosopher: A Conversation with Rosi Braidotti." Braidotti, Rosi.
With Kathleen O'Grady. Women's Education des Femmes 12.1 (Spring
1996): 35-39.
- The
Electronic Disturbance Cricial Art Ensemble.
- "Portals
in Duchamp and in Pynchon: A Deleuzian Reading" Rosenberg, Martin.
- "The
Machine at the Heart of Desire: Felix Guattari's Molecular Revolution."
Stivale,
Charles. Works and Day 2.2 (1985): 63-85. Part one.
Part
two, Part
three, Part
four.
- "Of
hecce'ite's and ritournelles: Movement and Affect in the Cajun Dance
Arena." Stivale, Charles.
- "The
Rhizomatics of Cyberspace." Stivale, Charles.
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Compiled by Alan Taylor. An extensive list of links to
works about and by Gilles Deleuze & Felix Guattari. Included are the following works
by Deleuze and Guattari:
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101: One Zero One is a magazine which uses the rhizome, a
non-hierarchical organic system, as its central organizing element. The magazine provides
a venue for my writing and is my Master of Arts in English, Creative Writing Thesis at CSU
Hayward in Hayward, CA. In addition to fulfilling the requirements for the M.A. Degree,
the magazine also provides space for participating
projects with other writers, artists, and filmmakers.
From beginning to end, the magazine will take 8.5 years to produce. In every way, this is,
of course, an arbitrary period of time. This is how I determined the time frame. When
considering versioning
rather than issues, I had to decide when new versions occur. Since nothing is deleted,
merely expanded, corrected, or changed, I decided to save a copy once a month starting
October 1, 1996 and call that a version. 101 versions later takes us to February 1, 2004
and the last of 101: One Zero One.
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