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There is a fundamental affinity between a work of art and an act of resistance.

“Capital is indeed the body without organs of the capitalist, or rather of the capitalist being.[…]Machines and agents cling so closely to capital that their very functioning appears to be miraculated by it. Everything seems objectively to be produced by capital as quasi cause. As Marx observes, in the beginning capitalists are necessarily conscious of the opposition between capital and labor, and of the use of capital as a means of extorting surplus labor. But a perverted, bewitched world quickly comes into being, as capital increasingly plays the role of a recording surface that falls back on (se rabat sur) all of production. (Furnishing or realizing surplus value is what establishes recording rights.)”

“The simulacrum is not a degraded copy. It harbors a positive power which denies the original and the copy, the model and the reproduction.”

“There are no individual statements, there never are. Every statement is the product of a machinic assemblage, in other words, of collective agents of enunciation (take “collective agents” to mean not peoples or societies but multiplicities). The proper name (nom propre) does not designate an individual: it is on the contrary when the individual opens up to the multiplicities pervading him or her, at the outcome of the most severe operation of depersonalization, that he or she acquires his or her true proper name. The proper name is the instantaneous apprehension of a multiplicity. The proper name is the subject of a pure infinitive comprehended as such in a field of intensity.”

“We are taught that corporations have a soul, which is the most terrifying news in the world.”

How many people today live in a language that is not their own? Or no longer, or not yet, even know their own and know poorly the major language that they are forced to serve? This is the problem of immigrants, and especially of their children, the problem of minorities, the problem of a minor literature but also a problem for all of us: how to tear a minor literature away from its own language, allowing it to challenge the language and making it follow a sober revolutionary path? How to become a nomad and an immigrant and a gypsy in relation to one’s own language?

“Conjugate deterritorialized flows. Follow the plants; you start by delimiting a first line consisting of circles of convergence around successive singularities; then you see whether inside that line new circles of convergence establish themselves, with new points located outside the limits and in other directions. Write, form a rhizome, increase your territory by deterritorialization, extend the line of flight to the point where it becomes an abstract machine covering the entire plane of consistency.”

“We must be bilingual even in a single language, we must have a minor language inside our own language, we must create a minor use of our own language…speaking in one’s own language like a foreigner…That is the definition of style.”

“The modern fact is that we no longer believe in this world. We do not even believe in the events which happen to us, love, death, as if they only half concerned us. It is not we who make cinema; it is the world which looks to us like a bad film. Godard said, about Bande a part: ‘These are people who are real and it’s the world that is a breakaway group. It is the world that is making cinema for itself. It is the world that is out of synch; they are right, they are true, they represent life. They live a simple story; it is the world around them which is living a bad script.‘”

“Becoming is an antimemory.”