[This text was originally written for an essay collection about the work of Guattari which will be published as the first Cahier (CFKj) of theCentrefor Philosophy & Art (CFK). This is a research centre within theFaculty of Philosophy of the Erasmus University Rotterdam (EUR).

The researchproject 'Intermediality' ('Intermedialiteit') explores the blurring boundariesbetween philosophy, art and politics. At the end of February 1999, asymposium at the EUR will be dedicated to the work of Guattari and tothetheme of intermediality.] Andreas BroeckmannMinor Media - Heterogenic MachinesNotes on Felix Guattari's conceptions of art and new media1. A minor philosopherAccording to Guattari and Deleuze's definition, a 'minor literature' is the literature of a minority that makes use of a major l anguage, al iterature which deterritorialises that language and interconnects meanings of the most disparate levels, inseparably mixing and implicating poetic,psychological, social and political issues with each other. In analogy,theJapanese media theorist Toshiya Ueno has recently refered to Felix Guattarias a 'minor philosopher'. Himself a practicing psychoanalyst, Guattari was a foreigner to the Grand Nation of Philosophy, whose natives mostly treat him like an unworthy bastard. And yet he has established a garden of minor flowers, of bastard weeds and rhizomes that are as polluting tocontemporary philosophy as Kafka's writing has been to Germanliterature.(cf K)The strategies of 'being minor' are, as exemplified by Guattari'swritings(with and without Deleuze), deployed in multiple contexts:intensification,re-functionalisation, estrangement, transgression.

Guattari conceptualises media...

In the following Iwant to offer a brief overview over the way in which Guattari conceptualises media, new technologies and art. As a proposition for furtherdiscussion, Iinclude descriptions of several media art projects that may help toillustrate some of the potentials of such 'minor machines'. Without wanting to pin these projects down as 'Guattarian' artworks, I suggest that the specific practices of contemporary media artists can point us in the direction of the re-singularising, deterritorialising and subjectifying forces which Guattari indicated as being germane to media technologies.This essay, then, is an experiment that tests the resonances betweenGuattari's thinking and different artistic projects.Many artists who work with media technologies do so through strategies of appropriation and from a position of 'being minor': 'When ever a marginality, a minority, becomes active, takes the word power (puissance deverbe), transforms itself into becoming, and not merely submitting toit,identical with its condition, but in active, processual becoming, it engenders a singular trajectory that is necessarily deterritorialising because, precisely, it's a minority that begins to subvert a majority, a consensus, a great aggregate. As long as a minority, a cloud, is on aborder, a limit, an exteriority of a great whole, it's something that is,by definition, marginalised. But here, this point, this object, begins to proliferate [...], begins to amplify, to recompose something that is nolonger a totality, but that makes a former totality shift, detotalises,deterritorialises an entity.' (Guattari 1985/1995) Thus, in the contextof media art, 'becoming minor' is a strategy of turning major technologies into minor machines.

a. Krzysztof Wodiczko (PL/USA):Alien Staff Krzysztof Wodiczko's Alien Staff is a mobile communication system and prosthetic instrument which facilitates the communication of immigrants andaliens in the countries to which they have migrated and in which they have insufficient command of the language for communicating on a par with the native inhabitants.Alien Staff consists of a hand-held staff which has a small videomonitorand a loudspeaker at the top. The operator can adjust the height of the staff's head to be at a level with his or her own head. Via the videomonitor, the operator can replay pre-recorded elements of a conversation,an interview, or a narration of him- or herself. The recorded material may contain biographical information when people have difficultiesconstructing coherent narratives in the foreign language, but it may also include thedescription of feelings and impressions which the operator normally doesn't get a chance to talk about in the new environment. The instrument canfunction as an interpreter both in the sense of a translator, and in thesense of a mediator. The Staff is used in public places where passers-by are attracted to listen to the recording and engage in a conversation withthe operator. Special transparent segments of the staff contain memorabilia, photographs or other objects which indicate a part of thepersonal history of the operator and which may be used to introduce aconversation about the operator's background.The Alien Staff offers individuals an opportunity to remember and retelltheir own story and to confront people in the country of immigrationwith this particular story. The Staff reaffirms the migrant's ownsubjectivityand re-singularises individuals who are often perceived as therepresentative of a homogenous group. The instrument displaces expectationsof the audience by articulating unformulated aspects of the migrant's subjectivity through a medium that appears as the attractive double ofanapparently 'invisible' person. This medium neither broad-casts, nordoes itnarrow-cast to a particular audience. It is a specific, minorinterventioninto the everyday territory of a majority and suggests a possible typeofpractice that Guattari meant by 'post-media'.

2. Guattari on media: mass media, new technologies and 'planetarycomputerization' Guattari's comments about media are mostly made in passing and display a clearly outlined opinion about the role of media in contemporarysociety: astaunch critique of mass media is coupled with an optimistic outlook to the potentials of a post-medial age in which new technologies can develop their singularising, heterogenic forces. The latter development is, asGuattari suggests, already discernible in the field of art and other cultural practices making use of electronic networks, and can lead to a state of'planetary computerisation' in which multiple new subject-groups can emerge. For the purpose of this essay, a brief sketch of this complex of ideas, which is mainly based on texts written in the late 1980s andearly90s, will have to suffice.Guattari consistently refers to the mass media with contempt, qualifying them as a stupefying machinery that is closely wedded to the forces ofglobal capitalism, and that is co-responsible for much of there actionary hyper-individualism, the desperation and the 'state of emergency' that currently dominates 'four-fifth of humanity' (C 97; cf TE 16, 21).Guattarimakes a passionate plea for a new social ecology and formulates, as onestep towards this goal, the necessity, 'to guide these capitalistsocietiesof the age of mass media into a post-mass medial age; by this I mean that the mass media have to be reappropriated by a multiplicity of subject-groups who are able to administer them on a path of singularisation' (TE 64). Beside classical leftist strategies forinducingthis 'shift away from oppressive mass-mediatic modernity toward somekindof more liberating post-media age in which subjective assemblages ofself-reference might come into their own' (Guattari 1989, p.98) - raisingthe consciousness of the masses, the abolishment of Stalinism, newforms ofcollectivity and work -, Guattari explicitly mentions the 'technological development of mass media, especially their miniaturisation, the loweringof their costs, and the possibility of using them for non-capitalistic ends' (TE 65). Guattari posits the non-hierarchical potential of information technologiesin reorganising social structures, and highlights the fundamental changesthat the emergence of 'computer-based subjectivities' will bring aboutforthe being of humans (TE 42, 29). Without negating the strictly capitalistic framework within which this development is currently taking place, he expresses high hopes for the 'machinic mutations (...) which deterritorialise subjectivity.' (C 97) The development of interfaces that support a return to orality will be an important step in this direction:'The era of the digital keyboard will soon be over; it is through speech that dialogue with machines will be initiated - not just with technical machines, but with machines of thought, sensation, and consultation ....All of this, I repeat, provided that society changes, provided that new social, political, aesthetic and analytical practices allow us to escape from the shackles of empty speech which crush us, from the erosion of meaning which is occurring everywhere (...).' (C 97)Some of this restrained enthusiasm came from Guattari's experience, inthe1970s, of working with the French Community Radio movement which, in the aftermath of 1968, tried to realise principles of community access,directdemocracy and the freedom of speech through local public media. Morerecently, Guattari was being influenced by the writings of Pierre Levy,aFrench philosopher who since the 1980s has been working on the potential role that new technologies are playing for the emergence of what Levy calls a 'collective intelligence.' Levy claims that the extending communication networks create a new cultural space in which general participation and interconnection can bring forth a new form of universality, a globalcultural plane that is universal in both its openness and its continuousinternal transformation, and that is not totalising as regards thecontentsor ideologies it carries. It seems that this optimistic interpretation ofthe socio-political effects of new technologies, of a 'universality without totalisation', influenced the rather euphoric attitude that Guattaritook.(cf Guattari 1990/1995, p.115, C 96-7, C 107)Guattari's conception of post-media, and its adaptation by others, has recently been denounced by the English critic Richard Barbrook for being dishonest and for siding with the techno-utopian, neo-liberal right. (cfBarbrook 1998) Barbrook's argument hinges on allegations that Guattari was authoritarian in his leadership of the Paris community radio FrequenceLibre, and that, amongst other things, he and Deleuze were Stalinists who instigated the purges of Cambodia by the Khmer Rouge. Barbrook accuses'Deleuzoguattarians' of being unable to grasp the truly subversivepotential of the Net which, as he explains, has initiated a gift economy inwhich a growing number of workers can participate without the mediation of cultural elites. Market competition is whithering away as 'workers cannow experience non-alienated labour within the hi-tech gift economy'. Take this as you will ... Ironically, Barbrook's scenario comes across as evenmore rosily utopian, and more similar to the neo-liberalist exploits of Wired magazine, than Guattari's, who qualifies his hopes and who, moreimportantly, takes the socio-technical transformations into account thatwill be necessary to realise this 'machinic revolution'. As Barbrookrejects Guattari's analytical terms, he gets stuck in copying a19th-century Marxian utopia, a history painting with digital art is ansinstead of peasants and workers' collectives.Barbrook does not recognise technologies as potentially subjectifying forces and sees them as a mere tool of unchanged human action andexchange.He therefore has little sense of the potential for a fundamental upheavalof the social and technical economy that digital technologies are effecting. Guattari, on the other hand, strongly believed that a radical redefinition of the role of technology, and of the relationship betweenhumans and machines, was both vital for the success of his project, andmost critical for many of those who he saw as potential allies. He therefore committed a considerable amount of attention to arguing the necessity of a positive technological agenda. 'People have little reason toturn away from machines; which are nothing other than hyperdeveloped andhyperconcentrated forms of certain aspects of human subjectivity, and emphatically not those aspects that polarise people in relations ofdomination and power. It will be possible to build a two-way bridgebetweenhuman beings and machines and, once we have established that, to heraldnewand confident alliances between them.' (Guattari 1989, p.96) The 'age ofplanetary computerization' (Guattari 1989, p.103) is an era of 'amonstrousreinforcement of earlier systems of alienation, an oppressive mass-mediaculture and an infantalising politics of consensus' (ibid.), but more thanthe previous historical phases, this age also holds the potential ofradical change for the better.

b. Seiko Mikami (J/USA): World, Membrane and the Dismembered BodyAn art project that deals with the cut between the human subject and thebody, and with the deterritorialisation of the sense of self, is Seiko Mikami's World, Membrane and the Dismembered Body. It uses the visitor'sheart and lung sounds which are amplified and transformed within thespaceof the installation. These sounds create a gap between the internal andexternal sounds of the body. The project is presented in an-echoic roomwhere sound does not reverberate. Upon entering this room, it is asthoughyour ears are no longer living while paradoxically you also feel asthoughall of your nerves are concentrated in your ears. The visitor has theimpression of being inside a huge ear, of being immersed in themembrane ofthe ear.The sounds of the heart, lungs, and pulse beat are digitized by thecomputer system and act as parameters to form a continuouslytransforming3-d polygonal mesh of body sounds moving through the room. Twosituationsare effected in real time: the slight sounds produced by the body itselfresonate in the body's internal membranes, and the transfigured resonanceof those sounds is amplified in the space. A time-lag separates both perceptual events.The visitor is overcome by the feeling that a part of his or hercorporeality is under erasure. The body exists as abstract data, onlythe perceptual sense is aroused. The visitor is made conscious of thedisappearance of the physical contours of his or her subjectivity andthereby experiences being turned into a fragmented body. The earsmediatethe space that exists between the self and the body. Mikami's workfragments the body and its perceptual apparatus into data, employingthemas interfaces and thus folding the body's horizon back onto itself.This is not the 'body without organs' that Guattari and Deleuze speak about.Yet,the art project facilitates an experience which may point in its direction.More importantly, the project elucidates the difference between an actualand a virtual body, the actual body being deterritorialised and projected outwards towards a number of potential, virtual bodies that can, in the installation, be experienced as maybe even more 'real' than the actualbody.

intersections of aesthetic, ethical, political and technological planes

3. Guattari on art Guattari's conception of post-media implies criss-crossing intersections ofaesthetic, ethical, political and technological planes, among which the aesthetic, and with it artistic creativity, are ascribed a position of special prominence. This special role of art is a trope that recursquite frequently in Guattari's writings, even though he is rarely specificaboutthe artistic practices he has in mind. In A Thousand Plateaus, DeleuzeandGuattari give some detailled attention to the works of artists likeDebussy, Boulez, Beckett, Artaud, Kafka, Kleist, Proust, and Klee, andChaosmosis includes longer passages and concrete examples for therelevanceof the aesthetic paradigm. These examples come almost exclusively fromthefields of performing arts, music and literature, while visual arts areallbut absent. One reason for this could be that the performing arts aretime-based and processual and thus lend themselves much better totheorisation of flows, transformations and differentiations. The visualarts can be related to the abstract machine of faciality (visageite)which produces unified, molar, identical entities out of a multiplicity ofdifferent singularities, assigning them to a specific category andassociating them with particular social fields. (cf MP 167-91) This semiotic territorialisation is much more likely to happen in the case ofstatic images, whether two- or three-dimensional, than in time-based artforms. An interesting question, then, would be whether media artprojects,many of which are time-based, processual and open-ended, can beconsideredas potential post-medial art practices. Moreover, given the status ofcomputer software as the central motor of the digital age, and thecrucialrole it plays in aesthetic productions like those discussed here, softwaremay have to be viewed as the epitome of post-medial machines.Guattari seems to have been largely unaware of the beginnings of digitalmedia art as it developed in the 1980s. He talks in rather general termsabout the exemplary working style of the artist that the mental ecosophywill have to follow in order to 'search for relief from the mass-medialandtele-informatic uniformity, from the conformism of fashions and themanipulation of public opinion by opinion polls and advertising' (TE23).Guattari suggests that the artist is particularly well-equipped toconceptualise the necessary steps for this work because, unlike engineers,he or she is not tied to a particular programme or plan for a product, andcan change the course of a project at any point if an unexpected eventor accident intrudes. (cf TE 50)The significance of art for Guattari's thinking comes primarily from itsclose relation with processes of subjectivation. 'Just as scientificmachines constantly modify our cosmic frontiers, so do the machines ofdesire and aesthetic creation. As such, they hold an eminent placewithin assemblages of subjectivation, themselves called to relieve our oldsocial machines which are incapable of keeping up with the efflorescence ofmachinic revolutions that shatter our epoch.' (C 54) The aestheticparadigm facilitates the development of new, virtual forms of subjectivity, andofliberation, which will be adequate to the machinic revolutions: 'Onceagain, it is the aesthetic machine which seems to be in the bestpositionto disclose some of its often unrecognised but essential dimensions: thefinitude relative to its life and death, the production ofproto-alterityin the register of its environment and of its multiple implications, itsincorporeal genetic filiations.' (C 107)c. Knowbotic Research + cF: IO_Dencies, The Alien Staff project was mentioned as an example for there-singularisation and the virtualisation of identity, and World,Membraneand the Dismembered Body as an instance of the deterritorialisation and virtualisation of the human body through an artistic interface. The mostrecent project by Knowbotic Research, IO_Dencies - Questioning Urbanity,deals with the possibilities of agency, collaboration and construction in translocal and networked environments. It points in the direction ofwhatGuattari has called the formation of 'group subjects' through connective nterfaces.The project looks at urban settings in different megacities like TokyoandSao Paulo, analyses the forces present in particular local urbansituations, and offers experimental interfaces for dealing with theselocalforce fields. IO_Dencies Sao Paulo enables the articulation ofsubjectiveexperiences of the city through a collaborative process. Over a periodofseveral months, a group of young architects and urbanists from SaoPaulo,the 'editors', provide the content and dynamic input for a database. Theeditors collect material (texts, images, sounds) based on the situationthey are in at the moment and on their personal urban experience. A specially designed editor tool also allows the editors to buildindividual conceptual 'maps' in which each editor can construct the relationsbetweenthe different materials in the data-pool according to his or hersubjectiveperception of the city.On the computational level, connectivities are created between the different maps of the editors, a process that is driven by algorithmic self-organisation whose rules are determined by the choices that theeditors make. In the process, the collaborative editorial work in thedatabase generates zones of intensities and zones of tension, which arevisualised as force fields and turbulences and which can be experiencedthrough interfaces on the internet and at physical exhibition sites.Participants on the Net and in the exhibition can modify and influencethese electronic urban movements, force fields and intensities on anabstract, visual level, as well as on a content-based, textual level.Theobjects in this force field are purely symbolic and conceptual, and the parameters are not spatial or territorial, but relational and depend onthe editors' approach to their urban material.The visualisation shows the intensity of relational forces in thedata-poolas they are being constructed and transformed by the self-organisation.When zooming in, the keywords referring to specific materials in thedatabase appear. By selecting them, it is possible to see or hear therespective textual, visual or auditory material on a separate monitor.Thisengagement with the projects and its material is fed back into the databaseand influences the relational forces within the project's digital environment. The networked project facilitates the fusion of receptionand construction by several connected translocal users.Characteristic of the forms of agency as they evolve in networkedenvironments is that they are neither individualistic nor collective,butrather connective. Whereas the collective is ideally determined by anintentional and empathetic relation between agents within an assemblage,the connective rests on any kind of machinic relation and is thereforemoreversatile, more open, and based on the heterogeneity of its componentsormembers. In the IO_Dencies interfaces, the different participants becomevisible for each other, creating a trans-local zone of connectiveagency. The inter-connectedness of their activities can be experienced visually, acoustically, and through the constant reconfiguration of the datasets, an experience which can become the basis of the formation of a specific, heterogeneous group subject.4. Guattari's concept of the machinicAn important notion underlying these analyses is that of the machinewhich,for Guattari, relates not so much to particular technological ormechanicalobjects, to the technical infrastructure or the physical flows of theurbanenvironment. 'Machines' can be social bodies, industrial complexes,psychological or cultural formations, such as the complex of desires,habits and incentives that create particular forms of collectivebehaviourin groups of individuals, or the aggregation of materials, instruments,human individuals, lines of communication, rules and conventions thattogether constitute a factory or administrative institution. 'Machines'areassemblages of heterogeneous parts, aggregations which transform forces,articulate and propel their elements, and force them into a continuousstate of transformation and becoming. Machines are multiplicities withoutunity, they are criss-crossed by multiple lines of forces.The machine is always productive, as against the 'anti-production' of afixed structure. Its productivity lies in the creation ofdiscontinuitiesand disruptions, it dislodges a given order and runs against routinesandexpectations. The product of the machine and the process of productionaresynonymous: the machine produces the process of transformation. Themachinic appears in a mode of immediacy and incidentality, confronting astructure with other potentialities and questioning its given shape.For Guattari, the concept of the machinic and the aesthetic are inseparably coupled: '[The] processual aesthetic paradigm [of ontological heterogenification] works with (and is worked by) scientific and ethical paradigms. It is installed transversally to technoscience because technoscience's machinic Phylums are in essence creative, because this creativity tends to connect with the creativity of the artistic process.But to establish such a bridge, we have to shed our mechanist visions ofthe machine and promote a conception which encompasses all of itsaspects:technological, biological, informatic, social, theoretical andaesthetic.'(C 107)The notion of the machinic phylum is introduced by Deleuze and GuattariinA Thousand Plateaus in order to articulate the dynamic and transformational forces inherent in any substance: 'We may speak of a machinic phylum, ortechnological lineage, wherever we find a constellation ofsingularities,prolongable by certain operations, which converge, and make the operations converge, upon one or several assignable traits of expression.' (TP 406)The Mexican-American writer Manuel De Landa has elaborated on theusefulness of the notion of the machinic phylum to express the double articulation of the machinic as a continuously transforming andtransformed, connecting and releasing processuality. A 'structure' is aclosed system of well-defined elements which are related to each otherandrelated to other systems. The machine, in contrast, implies the suddenappearance of the radically new, it is a breaking point and a singularpoint of discontinuity.In Guattari's conception of the machinic, machines form a binary-linearsystem. As Henning Schmidgen outlines, 'there is always one machinewhichbrings forth an energy flow, and another machine which is coupled withitand which makes a cut, tapping into the energy flow.' This cut of onemachine into another takes the form of an event or incident, it happensimmediately. It is 'significant' insofar as it transposes expressivematerial from one machine to another and ruptures the semiosis of thesecond. The machinic cut ('coupure'), is the interface, the 'Schnittstelle', it is a field of potential agency and a field ofpotential subjectification.Guattari's conception of the machinic suggests a reading of the mediaartprojects presented here, and other such projects, in relation to the technological, social and aesthetic phyla which bring them forth.Becoming machine, one of the many heterogeneous becomings that Guattari describesand that is a potential effect of minor media machines, would meanfollowing the deterritorialising line of flight of the phylum.d. Xchange networkMy final example is possibly the most evocative in relation toGuattari'snotions of the polyvocity and heterogenesis that new media technologiescantrigger. It also links up closely with Guattari's own engagement withtheminor community radio movement. In late 1997, the E-Lab in Rigainitiatedthe Xchange network for audio experiments on the Internet. Theparticipating groups in London, Ljubljana, Sidney, Berlin, and manyotherminor and major places, use the Net for distributing their originalsoundprogrammes. The Xchange network is 'streaming via encoders to remoteservers, picking up the stream and re-broadcasting it purely orre-mixed,looping the streams' (Rasa Smite).Xchange is a distributed group, a connective, that builds creativecooperation in live-audio streaming on the communication channels thatconnect them. The people of Xchange and others are thus also exploringtheNet as a sound-scape with particular qualities regarding datatransmission,delay, feedback, and open, distributed collaborations. Moreover, theyconnect the network with a variety of other fields. Instead of definingan'authentic' place of their artistic work, they play in the transversalpost-medial zone of media labs in different countries, mailing lists,net-casting and FM broadcasting, clubs, magazines, stickers, etc., inwhich 'real' spaces and media continuously overlap and fuse. (cf Break/Flow1998) Xchange especially explores the possibilities for co-streaming. One ofthe initiators, Raitis Smits, describes the main strategies: 'The simplestoneis to mix your sound source with another (one or more) real audiolive-stream. In this case each of the participants is doing one part ofthis live session (e.g. one is streaming voice, another backgroundmusic).There one can listen two (or more) different streams - the final onewithall transmissions mixed together or each 'input' live stream separately.Another interesting experience of co-streaming is creating the loop.Eachbroadcaster takes another's live stream, re-encodes it and sends itfurtherfor the next participant. In this loop sound input is going around andcoming back with a small delay of 5 to 10 seconds, which creates multiplesound layers. When the sound keeps travelling around, the stream gets moreand more noisy, and finally it turns into one continuous noise.'

5. Heterogenic practicesI believe that, if we want to understand the technological and thepolitical implications of the machinic environment of the digital networks,and if we want to see the emergence of the group subjects of the post-mediaage Guattari talks about, we may have to look at connectives like Xchangeand the editor-participant assemblages of IO_Dencies. The far-reaching machinic transformations which they articulate, hold the potential ofwhat Guattari refers to as the 'molecular revolution'. To realise thisrevolution, it is vital to 'forge new analytical instruments, newconcepts,because it is (...) the transversality, the crossing of abstractmachinesthat constitute a subjectivity and that are incarnated, that live inverydifferent regions and domains and (...) that can be contradictory andantagonistic.' For Guattari, this is not a mere theoretical question,butone of experimentation, 'of new forms of interactions, of movementconstruction that respects the diversity, the sensitivities, theparticularities of interventions, and that is nonetheless capable ofconstituting antagonistic machines of struggle to intervene in power relations' (Guattari 1985/1995, p.4-5).The implication here is that some of the minor media practices pursued by artists using digital technologies point us in the direction of the positive potentials of post media. The line of flight of such experimentation is the construction of new and strong forms ofsubjectivity, 'an individual and/or collective reconstitution of theself'(TE 21), which can strengthen the process of what Guattari calls'heterogenesis, that is a continuous process of resingularisation. The individuals must, at the same time, become solidary and ever moredifferent.' (TE 76)

Bibliography

Inke Arns / Andreas Broeckmann: 'Small Media Normality for the East.'In:Nettime, ZKP 4, and on Rewired: http://www.rewired.com, 1997

Richard Barbrook: 'The Holy Fools.' In: Mute, No.11, London 1998,p.57-65Break/Flow: 'Post-Media Operators.' Nettime, 10 June 1998(http://www.factory.org)

Gilles Deleuze, Felix Guattari: Kafka. Pour une litterature mineur.Paris:Ed. de Minuit, 1975 (K)Gilles Deleuze, Felix Guattari: Tausend Plateaus. (1980) Berlin: Merve,1992 (MP)Felix Guattari: Pragmatic/Machinic. Discussion with Guattari, conductedandtranscribed by Charles J. Stivale. (1985) In: Pre/Text, Vol. 14, No.3-4,1995

Felix Guattari: Cartographies schizoanalytiques. Paris: Ed. Galilee,1989 (CS)Felix Guattari: 'Regimes, Pathways, Subjects.' (1989) , p. 95-108(from: CS)Felix Guattari: Die drei Oekologien. (1989) Wien: Passagen Verlag, 1994(TE)Felix Guattari: 'Ueber Maschinen.' (1990) In: Schmidgen 1995, p. 115-32Felix Guattari: Chaosmosis. An ethico-aesthetic paradigm. (1992) Sidney:Power Publications, 1995 (C)

Knowbotic Research: IO_Dencies (1997-8) - http://www.khm.de/people/krcf/

Manuel De Landa: 'The Machinic Phylum.' In: V2_Organisation (eds):Technomorphica. Rotterdam: V2_Organisation, 1997

Seiko Mikami: World, Membrane and the Dismembered Body. (1997) -http://www.ntticc.or.jp/permanent/mikami/mikami_e.html

H. Schmidgen (ed): Aesthetik und Maschinismus. Texte zu und von FelixGuattari. Berlin: Merve, 1995Henning Schmidgen: Das Unbewu‹te der Maschinen. Konzeptionen desPsychischen bei Guattari, Deleuze und Lacan. Mїnchen: Fink, 1997

Krzysztof Wodiczko - http://cavs.mit.edu/people/kw.html

Xchange - http://xchange.re-lab.net (Rotterdam/Berlin, November 1998)