The Danger of the thesis (see preceding post) and a Complication

Surgery will be necessary to prove the thesis that Deleuze’s ‘Un manifeste de moins’ is actually about Alain Badiou. We will have to conduct a transplant, surgically removing Deleuze from theatre and then reconnecting Badiou to theatre, that is, removing Deleuze’s philosophical apparatus from its dependence on theatre and artificially creating this dependence inside Badiou. What will happen? One thing is sure:

The danger in this kind of operation is that theatre quickly multiplies. Already we have a surgical theatre, spectators, a prescribed operation – a script, surgeons – actors, an attendant chorus of nurses and interns, machines ready to play god, lights, even masks! So: a theatre of philosophical operations is succeeded by an O.R.

(The open set oscillates wildly between theatre and philosophy; and theatre endangers the ontological status of mathematics by turning it into a subset.)

What’s to stop the multiplication? There is nothing bracketing this theatre apart from another theatre. The play of representations, the play of plays, opens up to infinity. The infinities multiply. They are in fact actors.

THERE ARE TOO MANY INFINITIES!

We need to shorten the circuit. It must be immediate. There can be no recourse to representation, no detour. We need a philosophy that relates each infinity directly and immediately to the particular – even before it becomes particular, while the particles are still mobile, waves. We need a virtual ontology.

OMG! We are back in Deleuze’s ‘theatrum philosophicum’ and the operation to excise theatre has struck a complication: theatre has hypostasized; it is in every nerve.