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?
John Maus John Maus (born February 23, 1980) is an American musician, singer, songwriter, composer, and academic from Minnesota. An early collaborator of Ariel Pink, he has released several albums that incorporate elements of 1980s synth-pop, post-punk, and Medieval music. He is a former professor of philosophy at the University of Hawaii and his intellectual pursuits are reflected in his style and approach to music. His first two albums, "Songs" (2006) and "Love Is Real" (2007), generally drew negative reviews upon release. After the positive response to 2011's "We Must Become the Pitiless Censors of Ourselves", Maus grew more widely accepted as an outsider artist, and there was a critical reevaluation of his earlier work.
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".