Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of Signs

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of i...

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Main Author: Iain Campbell
Format: Article
Language:English
Published: ACT 2019-12-01
Series:La Deleuziana
Online Access:http://www.ladeleuziana.org/wp-content/uploads/2020/01/CampbellI2.pdf
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author Iain Campbell
author_facet Iain Campbell
author_sort Iain Campbell
collection DOAJ
description I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of «a-signifying semiotics» and the concept of the «diagram» he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain.
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spelling doaj.art-ac87cd731378419fa8e08e03609752c52022-12-22T00:28:46ZengACTLa Deleuziana2421-30982019-12-0110351370Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of SignsIain CampbellI propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of «a-signifying semiotics» and the concept of the «diagram» he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain.http://www.ladeleuziana.org/wp-content/uploads/2020/01/CampbellI2.pdf
spellingShingle Iain Campbell
Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of Signs
La Deleuziana
title Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of Signs
title_full Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of Signs
title_fullStr Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of Signs
title_full_unstemmed Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of Signs
title_short Deleuze and Guattari's Semiorhythmology: A Sketch for a Rhythmic Theory of Signs
title_sort deleuze and guattari s semiorhythmology a sketch for a rhythmic theory of signs
url http://www.ladeleuziana.org/wp-content/uploads/2020/01/CampbellI2.pdf
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