ABSTRACT
Gilles Deleuze has enjoyed significant notoriety and acclaim in American academia over the last 20 years. The unique disciplinary focus of the contemporary discussion has derived from Deleuze the architectural possibilities of biotechnology, systems theory, and digital processualism. While the persistence of Deleuze’s theory of science and the formalist readings of A Thousand Plateaus and Bergsonism1 have dominated the reception since the 1990s, few are aware of a much earlier encounter between Deleuze and architects, beginning at Columbia University in the 1970s, which converged on the radical politics of Anti-Oedipus and its American reception in the journal Semiotext(e), through which architecture engaged a much broader discourse alongside artists, musicians, filmmakers, and intellectuals in the New York aesthetic underground, of which Deleuze and Guattari were themselves a part.
