Tag Archives: Félix Guattari


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“The cruising machine has established an impenetrable border between what turns us on and what makes us think. This border is perhaps a defense mechanism against the intrusion of relations of power…

“Constructed like capitalism against death, the cruising machine… instead of being madly in love with what is present, it desires what is absent, it always desires the next object, it constructs itself on the establishment and sacred assumption of lack, according to the absolute criteria of consumption…

“If I leave my house to enjoy the weather, to buy bread or go see a friend, and if I come upon a boy that I like, gay or not, I am blissfully enjoying the present. But if I leave my house every night to find another queer by cruising the places where other queers hang around, I am nothing but a proletarian of my desire who no longer enjoys the air or the earth, and whose masochism is reduced to an assembly line.

“In my entire life, I have only ever really met what I was not trying to seduce.” — Guy Hocquenghem


Guy Hocquenghem, The Screwball Asses, translated by Noura Wedell (South Pasadena, CA: Semiotext(e), 2010), 75–76.

Originally published in Félix Guattari’s journal Recherches 12 (March 1973).


Above: Khaled Mahmoud (foreground) and Myriam Mézières (left) in Tino (1985), directed by Guy Hocquenghem and Lionel Soukaz.

Below: Hocquenghem (left) and Mahmoud in Tino.

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For his second book THE SEVENTH FUNCTION OF LANGUAGE—a highly comedic murder mystery about French Theory in the 1980s in which the death of Roland Barthes was not an unfortunate accident but a deliberate hit carried out in pursuit of that seventh function—Laurent Binet turns everything he loves and loathes about European intellectual life into irreverent satire.

Starring Michel Foucault, Julia Kristeva, Umberto Eco, Judith Butler (as a university student), Louis Althusser (and his uxoricide), François Mitterrand (Barthes’ lunch date just before his death), Valéry GiscardMichelangelo Antonioni and Monica Vitti at a fateful Logos Club meeting in Bologna, and Jacques Derrida, Roman Jakobson, Sylvère Lotringer, Camille PagliaFélix Guattari (but not Gilles Deleuze) at a linguistic symposium-turned-orgy at Cornell, the novel’s episodes are punctuated with a series of hilarious examples of the extreme logorrhea and irrepressible vanity of Philippe Sollers.




Translated by Sam Taylor

(New York: Farrar, Straus and Giroux, 2017).


See: partisanmagazine.com/interview-with-laurent-binet

Roland Barthes. Image credit above: Éditions Grasset et Fasquelle.

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Sylvère Lotringer was in conversation with Dorothée Perret in the Paris, LA #10 article ‘The Importance of Being Unfinished,’ with an introduction by Barlo Perry.

On Wednesday night he was at Ooga Booga’s second space at 356 Mission Road, to celebrate the launch of Semiotext(e)’s new publication Schizo-Culture, along with Semiotext(e)’s Noura Wedell and Hedi El Khot. For those of us who were only somewhat familiar with Semiotext(e), as an independent publisher inhabiting a lofty space in the art world (Semiotext(e) is included in the 2014 Whitney Biennial) and academia, and who brought the work of many French theorists to the United States, the evening was only somewhat informative. A basis of knowledge and understanding of the topic was already assumed, so the panelists dove straight in.

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Chris Kraus introduces Schizo-Culture at Ooga Booga

The Schizo-Culture conference took place at Columbia University in November of 1975. Lotringer described it as a complete shock. He had expected about fifty people to show up, but instead there were a thousand. He said the conference erupted into creative chaos. Of those who presented at the conference were French philosophers and thinkers Michel Foucault, Gilles Deleuze, Jean-Francois Lyotard, and Félix Guattari, and a wide range of Americans such as William Burroughs, John Cage, and Judy Clark. Lotringer said that when he thinks about schizo-culture, it is all about New York City, and the good energy that was felt there at the time. At the time it was joyful to be in New York City with all of the creative people there, the “old art world,” the punks, the young radicals, and the young academics. “People were afraid to go to New York back then, and they could have never predicted that 42nd St would turn into Disneyland,” said Lotringer.

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Noura Wedell, Sylvère Lotringer, and Hedi El Khot

Three years later, Semiotext(e) published the Schizo-Culture issue of their journal. He described the issue as being very fun to put together, and introduces it in the book as being “…not the same as the Schizo-Culture conference. The issue was put together three years after the conference in a very different context with very different intentions and with different material. …[It] doesn’t recount the shock encounter that took place between French and American philosophers and artists at ‘the Event,’ but instead consummated the magazine’s rupture with academe. It also took Semiotext(e) one step closer to the New York art world at an exciting and innovative time. No one could have anticipated that in just five years it would mutate into an art market, and then into an art industry. It was more than anyone had bargained for.” (v)

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Jack Smith, Jungle Island, 1967

Lotringer’s introduction to the Schizo-Culture conference and the Schizo-Culture issue of the journal was followed with Jack Smith’s film Jungle Island from 1967. Lotringer said that Smith knew nothing about French philosophy, yet he embraced the same ideas. He said he had a presence and a simplicity, that you just need to look at the world around you. His beautiful film was a jungle island dream, a layering of images of tropical plants, water, and a drag queen in heavy colorful makeup sparkling in the sun.

After the film, Noura Wedell and Hedi El Khot asked Lotringer a few questions, trying to start a discussion, but it was mostly Lotringer who spoke. The questions were opened up to the audience, and with each one, Lotringer became more and more impassioned. Towards the end he stated, “We are taught to be individuals, to draw attention to ourselves. That is how we are raised. Subjectivity is a false problem. You have to break from individualism by being mad.”