By Félix Guattari
All through a wide a part of the Nineteen Eighties, Félix Guattari, recognized for his collaborations with Gilles Deleuze and his experimental and groundbreaking practices in psychotherapy, comes to a decision to shift his experimental paintings right into a various medium of inventive and inventive concept perform: the area of technological know-how fiction. half self-analysis, half cinematic expression of his theoretical paintings, Guattari's screenplay merges his theoretical techniques together with his ardour for comedian books, loose radio pursuits, and picture. So starts Guattari's trip to put in writing a screenplay in which a gaggle of squatters makes touch with a great intelligence coming from the infinitely small Universe of the Infra-quark (UIQ). Guattari labored feverishly on his movie, trying to safe the cheap, touring to Hollywood, and enlisting the aid of American screenwriter Robert Kramer. however the movie could by no means see the sunshine of day. during the very important archival paintings of artists, Silvia Maglioni and Graeme Thomson, Guattari's script is now released right here, for the 1st time in English.
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Additional info for A Love of UIQ
So, therefore, was his life. One may suspect, in other words, that for most of the 1820s Schopenhauer inhabited every creative writer’s greatest nightmare – the thought that he had nothing more to say. Thus 1825 ﬁnd him attempting (unsuccessfully) to establish himself as a translator of other people’s works – an indication that he had nothing of his own left to say but wished, nonetheless, to continue with the motions of writing. The previous year Schopenhauer had recorded in his pocket book the following: ‘to recognise [give a name to] the thing in itself is a contradiction, because all cognition is [mind-processed] representation, whereas the thing in itself means the thing to the extent it is not’ (MR 3: 195).
He urgently needs something over and above what is to be found in Kant. REALISM AS SELF-CONTRADICTORY The ﬁrst sentence of the main work is: ‘The world is my representation’. This, as we may take it, statement of radical idealism is, says Schopenhauer, a truth so certain that it needs no proof (WR I: 3). This odd claim – odd, since radical idealism is so contrary to common sense – is illuminated in the second volume as follows: ‘The world is my representation’ is, like the axioms of Euclid, a proposition which everyone must recognise as true as soon as he understands it, although it is not a proposition that everyone understands as soon as he hears it (WR II: 3).
The second problem is the ‘Magritte problem’ once again. Surely, one might point out, the world as we experience it might both be a brain-construct and also correspond to the way reality in itself actually is. And in fact, one might continue, doesn’t our evolutionary success suggest that this is no mere possibility but is actually the truth of the matter? Surely creatures whose representations of the world were habitually at variance with the way it actually is would have (to borrow W. V. Quine’s memorable words) ‘the pathetic but praiseworthy habit of dying out before reproducing their kind’?