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1
Read, Jason. "Postscript as Preface: Theorizing Control After Deleuze." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72863.
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Gilles Deleuze’s “Postscript on Control Societies” functions as an index of epochal change. It opens with an invocation of the past, situating Foucault’s theory of disciplinary power in the nineteenth century, and has been read as theorization of the present, of the shifts in power in the late twentieth century. What, however, of its legacy? Or its future? It seems that now, close to thirty years after its publication, it is possible to ask two series of questions of this notion of control. First, where are we with control now?
2
Schleusener, Simon. "Deleuze and Neoliberalism." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72860.
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The following essay takes the topic of this special issue as an opportunity to not just investigate Deleuze’s “Postscript on Control Societies,” but to look more generally at the text’s place within his work as a whole. Indeed, as various authors have observed, there are a number of aspects that clearly distinguish the essay from the bulk of Deleuze’s other writings. First, what the Postscript aims at is a very direct and immediate “diagnosis of the present” (Foucault 1999: 91). Despite its brevity, the essay therefore entails a wide-ranging account of the (social, economic, cultural, and technological) ‘system’ which was about to take hold when Deleuze wrote the essay (1990) – and which still seems pervasive today. Second, the Postscript represents one of the few instances where Deleuze addresses new media, the digital, cyberspace, and computers: technologies, that is, which in the last few decades have thoroughly transformed the world we live in (cf. Galloway 2012). Third, while Deleuze is usually considered to be a thinker of affirmative creation and a joyous politics of difference and becoming, the Postscript may be the text that most evidently lends itself to discovering not only a more contemporary, but also a somewhat ‘darker’ Deleuze (cf. Culp 2016). For although it underlines the necessity of “finding new weapons” and developing “new forms of resistance” – pointing out that the question is not “whether the old or new system is harsher or more bearable” (Deleuze 1995: 178) – one can argue that the Postscript’s general perspective and tone is in fact more bleak and pessimistic than most of Deleuze’s other writings.
3
Noys, Benjamin. "Zones of Trauma: On Deleuze and Control." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72854.
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In his discussion of the transition from the cinema of the movement-image to the cinema of the time-image, Deleuze famously makes way for the traumatic intrusion of history. This transition, he writes, is not purely internal to cinema, but the result of the emergence of
'‘any spaces whatever’, deserted but inhabited, disused warehouses, waste ground, cities in the course of demolition or reconstruction. And in these any-spaceswhatever a new race of characters was stirring, kind of mutant: they saw rather than acted, they were seers. (1989: xi) '
These spaces are the result of the destruction caused by the Second World War, creating new forms of anonymous or empty space: bombed cities, abandoned villages, the chaos of what Thomas Pynchon, in Gravity’s Rainbow, called “the zone” (1975: 281-616).1 It is these spaces, especially in Italian neo-realism, which will break up the movement-image and release “a little time in a pure state” (Deleuze 1989: xi). Due to the stark emptiness of these spaces and their anonymity, characters or images will no longer be embedded in movement but instead become detached into time.
4
Raunig, Gerald. "Cipher and Dividuality." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71582.
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The “Postscript on Control Societies” is considered one of the most accessible texts by Gilles Deleuze, contemporary, yet untimely, ahead of its time, perhaps even ahead of our time. In just a few pages, Deleuze here touches on the specifics of discipline and control and subjects them to three perspectives: history, logic, program. On closer reading, however, one comes across some stumbling blocks, where thinking falters. The paragraph in which the word ‘dividual’ appears for the first time in the text is such an instance. Of course, the individuals of control become dividuals, and the masses become banks. But what does ‘code’ mean here, and what is the difference between the ‘precept’ of disciplinary society and the ‘password’ of control society? As is so often the case, the key lies in questions of context and translation.
5
Bignall, Simone. "Colonial Control." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72858.
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Just prior to his untimely death in 1961 in a hospital in the United States of America, Franz Fanon taught a series of lectures at the University of Tunis. His lecture notes include a section titled “Le contrôl et la surveillance”, in which he makes “social diagnoses, on the embodied effects and outcomes of surveillance practices on different categories of laborers when attempts are made by way of workforce supervision to reduce their labor to an automation: factory assembly line workers subjected to time-management by punch clocks and time sheets, the eavesdropping done by telephone switchboard supervisors as they secretly listened in on calls”, and other forms of management by surveillance (Browne 2015: 5-6). Here, Fanon produces an original account of control as an alienating and dehumanizing force of social production. Importantly for Fanon, technologies of control also generate and reinforce subjective experiences of racialization as an aspect of dehumanization in capitalist modernity. Yet, despite Fanon’s close intellectual friendship with Sartre and his involvement with Parisian philosophical circles during the postwar period, the emerging generation of French poststructuralist thinkers who became Sartre’s heirs do not seem to have regarded Fanon’s work on control as influential upon their groundbreaking theorizations of contemporary power and social production. As Simone Browne notes (2015: 165), Foucault does not reference Fanon in his early lectures on discipline and affective embodiment in “Madness and Civilization”, delivered during his own residency from 1966-68 at the University of Tunis; nor does he cite Fanon’s work in his later lecture series on biopolitics and security delivered at the Collège de France from 1977 to 1979. Similarly, although Fanon’s critical approach to psychoanalysis is mentioned in passing by Deleuze and Guattari in Anti-Oedipus (1983), Fanon is not cited by Deleuze (1988) as a precursor to his subsequent thinking about Foucault’s account of “disciplinary society” as a paradigm of modernity. Deleuze’s “Postscript on the Societies of Control”, which Gregory Flaxman (2019) argues should be read as an afterword to Deleuze’s earlier book on Foucault, again fails to consider Fanon a relevant source of knowledge regarding the nature of those power formations Deleuze believes are characteristic of a more contemporary shift towards “societies of control” (Deleuze 1992).
6
Linseisen, Elisa. "The “Post” in Postscript: Post-Productive Thinking, Re-Formatted Images." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71587.
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In this article, I seek to discuss the principles of modulation and variation in Deleuze’s canonical essay “Postscript on the Societies of Control” (Deleuze 1992). Analyzing and testing what Deleuze recognizes as “inseparable variations, forming a system of variable geometry” and as a “self-deforming cast that will continuously change from one moment to the other […], like a sieve whose mesh will transmute from point to point” (1992: 4), I will focus on the digital image
7
Rölli, Marc. "Power Regimes of Control: Remarks on their Neoliberal Context." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72861.
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In speaking of the society of control, new qualities of current social conditions are usually addressed in a diffuse rather than precise manner. Quite often, e.g. within surveillance studies, it is associated with technologies modelled after the fiction of god-like omnipotence of visual surveillance (cf. Gehring 2017). The relevance of a power of cybernetics – according to Wiener, the science of systemic control – which resonates in the concept of control, refers to normally invisible operations of technical systems that permanently evaluate data streams according to discursively determined parameters and in connection with commercial interests (cf. Wiener 1948).
8
Vogl, Joseph. "The Financial Regime." Univesität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72859.
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In his “Postscript on Control Societies,” Deleuze notably refers to a “mutation of capitalism” as one of the key characteristics of the post-disciplinary regime he terms control society. “The operation of markets,” he writes, “is now the instrument of social control and forms the impudent breed of our masters” (1992: 6). In the following essay, I will focus on a section of the economy in which this mutation is especially visible: the realm of finance, which in recent years has assumed an increasingly political and governmental function.
9
Buchanan, Ian, and David Savat. "Affect and Noise in the Society of Control." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71593.
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In his short paper “Postscript on Control Societies” (Deleuze 1995: 177-82), Gilles Deleuze offered one of the most searing diagnoses of contemporary society critical theory has produced. Three decades later, this essay remains remarkable for its prescience, especially when one considers that the World Wide Web was not in existence at the time that Deleuze wrote his essay, let alone smart phones and social media. Now that we’re beginning to understand the impact of global corporations such as Facebook and Alphabet (Google’s parent company), it could be argued that the essay speaks to today’s technological reality even more incisively than it did thirty years ago. Deleuze identified some of the key principles and logics at work.
10
Allers, Lea, and Franziska Martinsen. "‘Becoming-Resistance’ and ‘The New Spirit of Capitalism’." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72856.
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In his “Postscript on the Societies of Control”, which was written 30 years ago in 2020, Gilles Deleuze leaves us with the diagnosis that a profound transformation of society and capitalism has taken place: having left behind the disciplinary societies, which Foucault analysed (cf. Foucault 1975), after World War II, we are now living in societies of control that are inseparably connected to a new form of capitalism (cf. Deleuze 1992: 3-4, 6). This transformation of society has led to a “generalized crisis in relation to all the environments of enclosure” (Deleuze 1992: 3-4) which were being reshaped through various reforms, resulting in “the installation of the new forces” (1992: 4), that is, the “progressive and dispersed installation of a new system of domination” (1992: 7). Apparently, Deleuze’s clairvoyant idea of the society of control seems to have come true: we no longer need to imagine science fiction, since contemporary reality is already structured by digitised control mechanisms of multiple sorts and characters. Many of our social, economic, and political actions in both public and private everyday life are at least influenced or even caused by algorithms. Several of these algorithms may make our lives more convenient, especially in terms of the possibilities of the Internet, such as deterritorialised connection, access to information, and shared technological knowledge. However, in the “age of algorithm” (Sunstein 2017: 3), most areas of digitised reality based on ‘big data’, like social media, financial markets, smart technologies, or artificial intelligence systems are characterised by anonymity, non-transparency, and undemocratic structures which appear like asymmetrical mechanisms for controlling individuals. The function of algorithms enables all kinds of political and private organisations, like companies and governments, to evaluate patterns of individual behaviour and actions and to handle them as impersonal, general, and – in the Deleuzean idiom – dividualised facets of reality (cf. Baranzoni 2016: 45-46): a reality that is rather to be calculated in capitalistic terms than to be created and to be designed by human beings themselves (e.g. as political actors).
11
Andrew, Culp. "Deleuze Beyond Deleuze: Thought Outside Cybernetics." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71595.
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12
Pettman, Dominic. "The Mole and the Serpent: A Totemic Approach to Societies of Control." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71591.
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Animals are good to think with, or so they say. And animal totems have consistently found a hospitable ecosystem in Continental Philosophy. From Isaiah Berlin’s fox and hedgehog, to Friedrich Nietzsche’s menagerie of eagles and asses, to Donna Haraway’s companion species, different critters have been put to work at the service of The Concept. In Deleuze’s influential essay, “Postscript on the Societies of Control,” we encounter two particular animals: the mole and the serpent. (“We have passed from one animal to the other, from the mole to the serpent, in the system under which we live, but also in our manner of living and in our relations with others.” [2011: 140f]) The former is the emblem of the disciplinary society, which, according to Deleuze’s argument, is evolving swiftly into a control society, overseen by the oily coilings of the latter. What to make of this totemic distinction? What can the mole and the serpent tell us about the present moment, thirty years after Deleuze released them into our minds in this context? Since it is hardly more than a suggestive throw-away line in the original piece, we can only speculate.
13
Denson, Shane. "Dividuated Images." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71585.
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In contrast to the integral photograms of cinema, the images of a post-cinematic media regime are dividual, their forms discorrelated from molar subjectivity, their forces molecular, and their agencies of the order of metabolism rather than perception or cognition.1 It is in these terms that I have sought to understand the differences between cinematic and post-cinematic media (Denson 2016), and I have thereby made appeal to a somewhat Deleuzian framework—essentially situating the post-cinematic image as a medium, vector, or agent of the control society, complicit in the dividuation and modulation of subjects and their experiential and agential capacities under post-Fordist or neoliberal capitalism, as suggestively described by Deleuze in his famous “Postscript on the Societies of Control” (1992). But what are the means and mechanisms by which discorrelated, “dividuated” images are supposed to affect us?
14
Coutinho, Paulo Henrique Garcia. "Dívida e sociedade de controle no pensamento de Gilles Deleuze." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1909.
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Este trabalho consiste essencialmente no esforço de tentar esclarecer dois pontos no pensamento de Gilles Deleuze: a idéia de dívida, ou os mecanismos que estão por trás das suas manifestações, efeitos e desdobramentos, com os diferentes dispositivos de soberania e a passagem das sociedades disciplinares para a sociedade contemporânea de controle. Tem por objetivo desenvolver uma investigação a partir das manifestações da idéía de dívida nas mais variadas esferas da sociedade e demonstrar as diversas alterações que esta perspectiva foi alterando as suas disposições, a partir do aprimoramento das relações comerciais, até produzir o que entendemos hoje como um pensamento econômico. Partindo destas relações, esta dissertação demonstra o papel da dívida no desenvolvimento das sociedades disciplinares e na passagem das sociedades disciplinares para as sociedades contemporâneas de controle, localiza as alterações que esta idéia sofreu para continuar a trabalhar as relações de força existentes nas questões referentes à soberania e o seu projeto de transcendência no pensamento ocidental.This paper is essentially about an effort to clarify two issues on Gilles Deleuzes thought: the idea of debt, or the mechanisms behind its manifestations, effects and developments, with the different devices of sovereignty and the crossing of disciplinary societies to contemporary societies of control. It aims at developing an investigation from the manifestations of the concept of debt in many levels of society and at showing the many altered dispositions occurred from this perspective, from the improvement of trade deals to the production of what we currently understand as an economic thought. Considering these deals, this dissertation demonstrates the role of debt in the development of disciplinary societies and in the crossing of disciplinary societies to contemporary societies control. Also, it points out the changes this concept has passed throught in order to keep working on the relations of existing forces in issues regarding to sovereignty and its project of transcendence in occidental thought.
15
Prokic, Tanja. "Post, Like, Share, Submit: Visual Control and the Digital Image (13 Theses)." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71586.
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Deleuze’s short essay on the societies of control has, one could say, infected thought on the present. Few serious reflections on today’s media society seem immune against the plausibility and evidence of Deleuze’s deliberations, not least because they use the force of abstraction to draw theoretical concepts from empirical facts, allowing for an anticipation of future developments without getting lost in details. Deleuze argues that a society whose media and technologies provide an apparatus of seamless connectivity and global scope has irreversible effects on the way we perceive, think, and create order. At the same time, the naturalization of these effects progresses via retroaction – making us forget it has ever been different. With his text, Deleuze stands in the midst of this naturalization and neutralization process: This may be why it is inevitably a “postscript” to the societies of control – it takes the artificial position of the “post” in order to be able to look at one’s own contemporary culture from an alienating distance, as Foucault once demanded for every description of the present (1999: 91). This “post,” then, by no means signals a retrospective look at a process already completed; instead, Deleuze gives an exaggerated account of the early digitization age from an artificial retrospective standpoint, which, ironically, will also have been one “after” writing.
16
Pontén, Joon. "Less is More : Copyright som censur i Control Societies, och hur mindre censur tenderar att bli mer reglering." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-86948.
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In what French philosopher Gilles Deleuze labelled Control Societies, mechanisms reminiscent of censorship – that is, restriction of information that administrators of power wish to regulate the spreading of – are present in the concept of copyright. This kind of censorship has theadvantage of not being scrutinized by public eyes in the way that the work of institutionalized censorship agencies such as the Swedish Statens Biografbyrå was. It is not unlikely that expanded possibilities for punishing anyone who spreads copyrighted material will result in larger and larger areas that may not be accessed, as the avoiding of conflict and repressive actions will emphasize the behaviour to take detours around information that is deemed taboo and therefore suspicious and dangerous. The ACTA trade agreement is one proposed tool for such extended possibilities for punishment. This essay does not however claim that copyright and censorship are the same – but rather that the institutional execution of power that was previously a matter of state censorship has a lot of similarities with current and prognosticated application of copyright laws by corporations. While claiming to protect the individual, the disciplinary power executed actually aims to protect the one executing it; the purpose of the power structure is to replicate itself.
17
Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.
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18
Cord, Florian, and Simon Schleusener. "Looking backward at the present, 2020 - 1990: Deleuze's “Postscript on Control Societes”." 2020. https://ul.qucosa.de/id/qucosa%3A72917.
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