The brand of holist ecological philosophy that emphasizes that ‘everything is connected to everything,’ will not help us here. Rather, everything is connected to something, which is connected to something else. While we may all ultimately be connected to one another, the specificity and proximity of connections matters — who we are bound up with and in what ways. Life and death happen inside these relationships. And so, we need to understand how particular human communities, as well as those of other living beings, are entangled, and how these entanglements are implicated in the production of both extinctions and their accompanying patterns of amplified death.
Thom Van Dooren, "Flight Ways: Life at the Edge of Extinction"
“For Darwin and Lyell, the earth is a recording medium - a profoundly fallible one. At best it inscribes ruins, enigmas, and hieroglyphics; at worst, blank stretches of oblivion. In their conviction that history can be memorialized only in fragments, Lyell and Darwin form one strand in a modern conversation about the nature of media inscription. They find a certain melancholy edification in the spectacle of life's wreckage. (Natural selection is itself one such spectacle.) Forgetfulness and loss are the way of the universe. Alps and Andes vanish like rainbows.”
- John Durham Peters, "Space, Time and Communication Theory"
For Deleuze and Guattari, music is an exemplary art, providing the clearest practical example of the kind of nomadic thought they seek to promote. A temporal art, it puts the emphasis on the Bergsonian dynamics of flux and becoming; a non-representational art, it puts our perceptual faculties in touch with our intellectual faculties in a way that does not require the mediation of concepts and representation. But above all, they argue, it is nomadic, it brings together different levels of analysis, enabling them to be contained within a single thought. By liberating us from the limitations of representational thought in the Aristotelian tradition, which requires that we work on one conceptual plane at a time, music helps us to understand how, from the interstellar to the sub-atomic level, everything is in touch with everything else. In this sense, we could say that the musical experience described by Deleuze and Guattari involves a postmodern update of the Pythagorean harmony of the spheres.
"By placing all its components in continuous variation, music [...] enters the service of a virtual cosmic continuum [...]. This ferment came to the forefront and made itself heard in its own right; and, through the molecular material thus wrought, it made audible the nonsonorous forces of the cosmos that have always agitated music – a bit of Time in the pure state (Proust), a grain of absolute Intensity [...]. Music is not alone in being art as cosmos and in drawing the virtual lines of an infinite variation. (A Thousand Plateaus, pp.95- 96)"
- Eric Prieto, Deleuze, Music, and Modernist Mimesis (2005)
Clearly, if we take quantum mechanics seriously as making a statement about the real world, then the demands it places on our conventional thinking are enormous. Hidden behind the discrete and independent objects of the sense world is an entangled realm, in which the simple notions of identity and locality no longer apply. We may not notice the intimate relationships common to that level of existence, but, regardless of our blindness to them, they persist. Events that appear to us as random may, in fact, be correlated with other events occurring elsewhere. Behind the indifference of the macroscopic world, “passion at a distance” knits everything together.
Greenstein and Zajonc, "The Quantum Challenge" (1940)
“Reza Negarestani imagines the machinations of Earth below its surface as a series of agents that humans unwittingly unleash on themselves and the rest of Earth, in a demonic parody of environmentalist nonfiction: “The surface biosphere has never been separate from the cthulhoid architecture of the nether.” Dust and wind are imagined as swirling beings that generate a “mistmare,” enveloping humans in a literal “fog of war” in which America and the Middle East haplessly wage war on behalf of cthonic agents they do not understand: weather as monster.”
Timothy Morton, "Hyperobjects: Philosophy and Ecology After the End of the World"