From which French philosopher's work did John Maus derive the title of the album whose positive response caused him to grow more widely accepted as an outsider artist?
We Must Become the Pitiless Censors of Ourselves We Must Become the Pitiless Censors of Ourselves is the third album from the American electronic musician John Maus, released in 2011, on Ribbon Music in the United States and Upset the Rhythm in the UK. Critics met the album with generally favorable reviews. The title is derived from French philosopher Alain Badiou's "Fifteen Theses on Contemporary Art".
Desiring-production Desiring-production (French: "machine désirante" , "desire-machine") is a term coined by the French thinkers Gilles Deleuze and Félix Guattari in their book "Anti-Œdipus" (1972). They oppose the Freudian conception of the unconscious as a representational "theater", instead favoring a productive "factory" model: desire is not an imaginary force based on lack, but a real, productive force. They describe the mechanistic nature of desire as a kind of "desiring-machine" that functions as a circuit breaker in a larger "circuit" of various other machines to which it is connected. Meanwhile, the desiring-machine is also producing a flow of desire from itself. Deleuze and Guattari imagine a multi-functional universe composed of such machines all connected to each other: "There are no desiring-machines that exist outside the social machines that they form on a large scale; and no social machines without the desiring machines that inhabit them on a small scale." Desiring-production is explosive, "there is no desiring-machine capable of being assembled without demolishing entire social sectors".