A Journey of Refrains, Vibes, and Ambience: Félix Guattari and Japan in Terms of Minimal Techno and Techno-Pop

In his numerous texts, Guattari confirmed the potential of rock, pop, and hip hop in their transversal, mobility, and actuality, although his taste was to dislike these music genres. As is well known, the refrain was a crucial notion in the thought of Deleuze and Guattari. This DJ-set presents the possible interpretation and appropriation of refrains in performances and vibes in techno and ambient music. In addition, to commemorate Guattari’s interest in Japan and his friendship with Kobo Abe (Japanese novelist) in the 1980s, here contemporary minimal-techno is mixed and mushed up with some Japanese techno-pop and rock music. This set then echoes Deleuze and Guattari’s quotation: “Philosophy is no longer synthetic judgement; it is like a thought synthesizer functioning to make thought travel, make it mobile, make it a force of the Cosmos (in the same way as one makes sound travel)” (Deleuze and Guattari 1987, 343).


Deleuze, Gilles, and Félix Guattari. 1987. A Thousand Plateaus. Translated by Brian Massumi. Minneapolis: Minnesota University Press.

Deleuze and Guattari as VJay: Digital Art Machines

I would like to focus on relations between art and technology. Our digital machinic phylum transforms entirely the relationship between “art,” “images,” and social assemblages. Though Deleuze rarely addressed the digital transformation of our contemporary art machine, Guattari often did. My concern is to articulate “images” as Deleuze understood them in the Cinema books using the ritornello, proposed by Guattari in The Machinic Unconscious and in Thousand Plateaus, in order to explain what I call the “ecology of images.” I will focus on two contemporary pieces: the video Diaries (2006) by Tania Mouraud and I hate love stories (1989), a computer painting by Georgik.