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Manuel de Landa
From Wikipedia, the free encyclopedia
Manuel DeLanda, (born 1952 in Mexico City), is a writer, artist and distinguished 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), a Professor for Contemporary Philosophy and Science at the European Graduate School in Saas-Fee, Switzerland, a professor at the Canisius College in Buffalo, New York, and professor at the University of Pennsylvania School of Design in Philadelphia, Pennsylvania.
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 science, cellular automata on the other. De Landa 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.