Lorraine, Tamsin E.

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Swarthmore College Works Philosophy Faculty Works Philosophy 2010 Lines Of Flight Tamsin E. Lorraine Swarthmore College, tlorrai1@swarthmore.edu Follow this and additional works at: https://works.swarthmore.edu/fac-philosophy  Part of the Philosophy Commons Let us know how access to these works benefits you  Recommended Citation Tamsin E. Lorraine. (2010). Revised. "Lines Of Flight". The Deleuze Dictionary. 147-148. https://works.swarthmore.edu/fac-philosophy/504 This work is brought to you for free and open access by . It has been accepted for inclusion in Philosophy Faculty Works by an authorized administrator of Works. For more information, please contact myworks@swarthmore.edu. L I N E S  O F  F L I G H T 147ConnectivesFoldForceSubstanceLÉVINAS, EMMANUEL (1906–95) – refer to the entries on  ‘ontology’ and ‘phenomenology’.LINES OF FLIGHTTamsin LorraineThroughout A Thousand Plateaus, Deleuze and Guattari develop a vocab-ulary that emphasises how things connect rather than how they ‘are’, and tendencies that could evolve in creative mutations rather than a ‘reality’ that is an inversion of the past. He and Guattari prefer to consider things not as substances, but as assemblages or multiplicities, focusing on things in terms of unfolding forces – bodies and their powers to affect and be affected – rather than static essences. A ‘line of fl ight’ is a path of mutation precipitated through the actualisation of connections among bodies that were previously only implicit (or ‘virtual’) that releases new powers in the capacities of those bodies to act and respond.Every assemblage is territorial in that it sustains connections that defi ne it, but every assemblage is also composed of lines of deterritorialisation that run through it and carry it away from its current form (D&G 1987: 503–4). Deleuze and Guattari characterise assemblages in terms of three kinds of lines that inform their interactions with the world. There is the ‘molar line’ that forms a binary, arborescent system of segments, the ‘molecular line’ that is more fl uid although still segmentary, and the line of fl ight that ruptures the other two lines (D&G 1987: 205). While the supple segmentarity of the molecular line operates by deterritorialisations that may permit reterritorialisations that turn back into rigid lines, the line of fl ight can evolve into creative metamorphoses of the assemblage and the assemblages it affects. In what they admit is a ‘summary’ example (since the three lines co- exist and can change into one another), they suggest that the Roman Empire could be said to exemplify rigid segmentarity; the migrant barbarians who come and go across frontiers pillaging, but also reterritorialising by integrating themselves into indigenous communities, M2328 - PARR TEXT.indd   147 10/08/2010   16:17This content downloaded from 130.58.106.203 on Tue, 21 Jan 2020 15:51:13 UTCAll use subject to https://about.jstor.org/terms148 L I N E S  O F  F L I G H Tsupple segmentarity; and the nomads of the steppes who escape all such territorialisation and sow deterritorialisation everywhere they go, a line of fl ight (D&G 1987: 222–3).On the one hand an assemblage (for example, an assemblage of the book, A Thousand Plateaus, and a reader) is a ‘machinic assemblage’ of actions, passions and bodies reacting to one another (paper, print, binding, words, feelings and the turning of pages). On the other hand it is a ‘collective assemblage of enunciation’, of statements and incorporeal transformations attributed to bodies (the meaning of the book’s words emerges in a reading assemblage in terms of the implicit presuppositions extant in the social fi eld concerning pragmatic variables in the use of language) (D&G 1987: 88). Both aspects of the book–reader assemblage produce various effects in their engagement with other assemblages (for example, the assemblage of book and hand ripping out pages to feed a fi re or the assemblage of a reader plugged into aesthetic assemblages inspired by the notion of ‘becomingim-perceptible’ to create a work of art). Deleuze and Guattari deliberately designed A Thousand Plateaus to foster lines of fl ight in thinking – thought- movements that would creatively evolve in connection with the lines of fl ight of other thought- movements, producing new ways of thinking rather than territorialising into the recognisable grooves of what ‘passes’ for philosophical thought. Interpretations, according to Deleuze and Guattari, trace already established patterns of meaning; maps pursue connections or lines of fl ight not readily perceptible to the majoritarian subjects of domi-nant reality. Deleuze and Guattari wrote their book as such a map, hoping to elicit further maps, rather than interpretations, from their readers.Although Deleuze and Guattari clearly value lines of fl ight that can connect with other lines in creatively productive ways that lead to enli-vening transformations of the social fi eld, they also caution against their dangers. A line of fl ight can become ineffectual, lead to regressive trans-formations, and even reconstruct highly rigid segments (D&G 1987: 205). And even if it manages to cross the wall and get out of the black hole, it can present the danger of becoming no more than a line of destruction (D&G 1987: 229). Deleuze and Guattari advocate extending lines of fl ight to the point where they bring variables of machinic assemblages into continuity with assemblages of enunciation, transforming social life in the process; but they never minimise the risks the pursuit of such lines entails.ConnectivesDeterritorialisation/ReterritorialisationMajoritarianMolarM2328 - PARR TEXT.indd   148 10/08/2010   16:17This content downloaded from 130.58.106.203 on Tue, 21 Jan 2020 15:51:13 UTCAll use subject to https://about.jstor.org/terms

Lines Of Flight

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Lines Of Flight

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