Manuel DeLanda, (born 1952 in Mexico City), is a writer, artist and philosopher who has lived in New York since 1975. He is an Adjunct Associate Professor at Graduate School of Architecture, Planning and Preservation at Columbia University (New York), the Gilles Deleuze Chair of Contemporary Philosophy and Science at the European Graduate School in Saas-Fee, Switzerland, a professor at the Canisius College in Buffalo, New York, professor at the University of Pennsylvania School of Design in Philadelphia, Pennsylvania, and professor at Pratt Institute the School of Architecture in Brooklyn, New York..
He is the author of War in the Age of Intelligent Machines (1991), A Thousand Years of Nonlinear History (1997), Intensive Science and Virtual Philosophy (2002) and A New Philosophy of Society: Assemblage Theory and Social Complexity (2006). He has published many articles and essays and lectured extensively in Europe and in the United States. His work focuses on the theories of the French philosopher Gilles Deleuze on one hand, and modern science, self-organizing matter, artificial life and intelligence, economics, architecture, chaos theory, history of science, nonlinear dynamics, cellular automata on the other. DeLanda became a principal figure in the "new materialism" based on his application of Deleuze's realist ontology. His universal research into "morphogenesis" - the production of the semi-stable structures out of material flows that are constitutive of the natural and social world - has been of interest to theorists across many academic and professional disciplines.
Alongside his intellectual work, DeLanda made several short Super 8 and 16mm films in the 1970s and early 1980s, all of which are now out of circulation. Cited by filmmaker Nick Zedd in his Cinema of Transgression Manifesto, DeLanda associated with many of the experimental and art filmmakers of this New York based movement. Much of DeLanda's film work is inspired by his interest in philosophy and critical theory; one of his best known films, Raw Nerves, has been described as a 'Lacanian thriller' by at least one critic.
He recently contributed a chapter to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ Spooky.
- War in the Age of Intelligent Machines (1991)
- A Thousand Years of Nonlinear History (1997)
- Intensive Science and Virtual Philosophy (2002)
- A New Philosophy of Society (2006)
 See also
 External links
- Manuel DeLanda Annotated Bibliography with links to articles
- Various texts
- Interview on Ctheory
- Other interview by Paul Miller
- "Markets and antimarkets in the world economy" by DeLanda
Choice Outstanding Academic Books 1996
Notes From Underground offers the first Western sociological study of rock music and counterculture in Russian society. Based on participant observation, in-depth interviews, and life-history analysis, the author provides a detailed ethnographic examination of the origins and local meanings of rock music and the countercultural way of life of rock musicians in St. Petersburg during the socialist period of Russian history. Rock music served as the basis for alternative forms of individual and collective identity which stood as beacons of difference and resistance in the bleak cultural environment of socialist industrial society. Cushman explores the experiences of members of the St. Petersburg musical community after the dissolution of the Soviet Union in order to shed light on the following questions: What happens to oppositional "underground" culture when it "comes up from the underground?" What is the fate of Russian rock music and those who make it under new conditions of the rapid capitalist rationalization of post-Soviet Russian society?The book traces the experiences of musicians in new capitalist culture markets, both in Russia and in Western societies to illustrate the more general process of "commercialization of dissent" which is taking place in post-communist societies. Russia's entrance into the path of Western capitalist modernity is viewed not so much as a path to freedom and cultural autonomy, but as the intersection of two trajectories of modernity that has given rise to new and unique cultural dilemmas. It concludes with an examination of important theoretical issues about the problematic relationship between capitalism, cultural freedom, and democracy in contemporary Russian society.
Theories of Minimalism Still Welcome
This might be a timely moment to reiterate that the deadline for submissions to the second international conference on minimalist music, which is being held at the University of Missouri at Kansas City September 2-6, is January 31. We're prepared for more papers than we've received so far, so if you're interested, give us a try. We've gotten almost no papers from Europe yet, but it was our European colleagues who asked to have the date extended, so maybe their proposals will all arrive at the last minute. We're honoring Charlemagne Palestine, Tom Johnson, and Mikel Rouse, and the barbecue's going to be to die for. E-mail your proposals to me (email@example.com) and David McIntire (firstname.lastname@example.org). The economy's making the money hard to come by, but as I told David: "We're minimalists - if we can't hold a conference in this economy, nobody can."
January 11, 2009 10:41 PM | Permalink | Comments (0)
January 10, 2009
Freedom Caught in Notation
I wrote my "American Composer" column for Chamber Music magazine this month - though it won't be out till March - on John Halle, one of the eight composers of the Common Sense collective. And, as often happens, I obtained a generous influx of his music, so I uploaded seven pieces to PostClassic Radio. John's vocal music employs political texts - from Project for the New American Century, Larry Summers, D.C. activist Sam Smith - that sound pretty shocking when set to music with seeming innocence. (Much the way, I suppose, that Allan Kozinn once wrote that Custer's hate-spewing memoires sound in my Custer and Sitting Bull.) My real interest, though, is in John's rhythms, a typical example given here from his 1997 piece Spooks (the instruments are flute, oboe, violin, cello, and two guitars):
Look at that: triplets moving to dotted quarters in the flute, septuplets grouped in sixes in the oboe, triplet quarters grouped in fives and fours in the violin, five-beat patterns in the cello and first guitar, over a dotted-quarter pulse in the second guitar. Pure totalism. You can tell me no such style exists, and I'll bury you with examples. Call it whatever you want, I don't care. Metametrics. And that doesn't at all mean that John's music sounds like Michael Gordon's, Ben Neill's, Evan Ziporyn's, Mikel Rouse's, Art Jarvinen's, mine, and so on. He's got his own fresh way of speeding up and slowing down through lines nonsynchronously over a pulse that ties everything together, more jazz-sounding than the other totalists (he started out as a jazz pianist), and the music would sound improvised if the harmonies didn't fit together so snugly. Amazing stuff.
John Halle is a man after my own heart. He used to be an alderman in New Haven, and his political writings are fearless. One of the first things Google attributes to him is an article on the wealth tax, and over at his humble-looking web site, he's got some excellent articles on musical politics, including the best debunking yet of Joseph Straus's MQ article claiming that the 12-toners never wielded any power in academia, and a report on the nefarious dealings of Mario Davidovsky. The kind of stuff that, were I to post it here, 20 people would write in to cry foul - and yet it's god's own truth. God bless 'im.
Michael Vasilyevich Matjuschin (Russian: Михаил Васильевич Матюшин; * 1861 in Novgorod; † 14 October 1934 in Leningrad) was a Russian painter and composer, leading member of the Russian avant-garde. From 1876 to 1881 he received training in the conservatory in Moscow and worked from 1882 to 1913 as a violinist in the yard orchestra of Saint Petersburg. Meanwhile, he studied art at a private art school together with his life companion Jelena Guro and paints in this time a series of landscapes. Matjuschin ranks among a founder Futurism in the art. He attained a life-long friendship with artist Kasimir Malevich; in 1913 Malevich and Matjuschin, along with two further artist colleagues, writes the opera Victory over the Sun, whose set was designed my Malevich supposedly inspiring him to the development of Suprematism. Matjuschin writes the music to this opera to the works of poet Velimir Chlebnikov. From 1921 to 1923 he worked in the museum for artistic culture and belonged to the museum executive committee, whose department for scientific study of the organic art he led starting from 1923
Aleksander Mikhailovich Rodchenko (Russian: Александр Михайлович Родченко, 5 December [O.S. 23 November] 1891 – December 3, 1956) was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.
Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."
Pavel Nikolayevich Filonov (Russian: Па́вел Никола́евич Фило́нов) (January 8, 1883–December 3, 1941) was a Russian avant-garde painter, art theorist, and a poet.
Filonov was born in Moscow on January 8, 1883 (Gregorian calendar) or December 27, 1882 (Julian calendar). In 1897, he moved to St. Petersburg where he took art lessons. In 1908, he entered St. Petersburg Academy of Arts, from which he was expelled in 1910.
In 1910–1914, he took part in the arts group Soyuz Molodyozhi created by artists Elena Guro and Mikhail Matyushin. In 1912, he wrote the article The Canon and the Law, in which he formulated the principles of analytical realism, or "anti-Cubism". According to Filonov, Cubism represents objects using elements of their surface geometry but "analytical realists" should represent objects using elements of their inner soul. He was faithful to these principles for the remainder of his life.
A Peasant Family (The Holy Family), 1914, oil on canvas, 159x128 cm, Russian Museum.
During the years 1913 to 1915, Filonov was close to Vladimir Mayakovsky, Velimir Khlebnikov, and other futurists. In the autumn of 1916, he enlisted for service in World War I and served on the Romanian front. Filonov participated actively in the Russian Revolution of 1917 and served as the Chairman of the Revolutionary War Committee of Dunay region.
Konstantin Stepanovich Melnikov (Russian: Константин Степанович Мельников; August 3 [O.S. July 22] 1890, Moscow - November 28, 1974, id.) was a Russian architect and painter. His architectural work, compressed into a single decade (1923-1933), placed Melnikov on the front end of 1920s avant-garde architecture. Although associated with the Constructivists, Melnikov was an independent artist, not bound by the rules of a particular style or artistic group. In 1930s, Melnikov refused to conform with the rising stalinist architecture, withdrew from practice and worked as a portrait painter and teacher until the end of his life.