ABSTRACT
Mobility can be justified or criticized from within several regimes of justification. For instance, the artistic discourses, or the ‘regime of inspiration’, perceives mobility as a source of inspiration, spontaneity, originality, creativity, and movement. The ‘industrial regime’ relates it to efficiency, performance, productivity, and utilitarian functionality. In a certain sense, therefore, the sociology of critique aligns critique to what exists, to existing values, and brings it into line with the governmental idea of ‘reform’. The body without organs is, like Baruch Spinoza’s monist ‘substance’, an all-encompassing flux, a mutable chaos, from which everything emerges and to which everything eternally returns. Social theory has hitherto understood the camp as an anomaly: an exceptional site situated on the margins of the polis to neutralize its ‘failed citizens’ or ‘enemies’. As such, the camp articulates an image of ‘society’ as if it is dissolved or has disappeared, as if it has imploded into a state of nature.
