Manuel DeLanda

DeLanda was previously a visiting professor at the University of Southern California School of Architecture, where he taught an intensive two-week course in the spring 2012 term on self-organization and urbanity; adjunct associate professor at the Columbia University Graduate School of Architecture, Planning and Preservation from 1995 to 2006; and adjunct professor at Cooper Union's Irwin S. Chanin School of Architecture.

Films

After moving to New York, DeLanda created several experimental films between 1975 and 1982, some as part of an undergraduate coursework at the School of Visual Arts. While at SVA, DeLanda studied under video artist Joan Braderman; they were subsequently married in 1980 and collaborated on several works (including Braderman's Joan Does Dynasty [1986], DeLanda's Raw Nerves [1980] and Ismism [1979]) before divorcing at an indeterminate point.

Influenced by the no wave cinema movement, DeLanda's Super 8 and 16mm films also served as methodical, theory-based approaches to the form. He pulled them from circulation after the original negatives were lost; in 2011, Anthology Film Archives restored and reissued them.

Cited by filmmaker Nick Zedd in his Cinema of Transgression Manifesto, DeLanda associated with many of the No Wave experimental filmmakers of this New York based-movement. In 2010, he appeared in Céline Danhier's retrospective documentary Blank City. Much of his oeuvre was inspired by his nascent interest in continental philosophy and critical theory; one of his best known films is Raw Nerves: A Lacanian Thriller (1980).

Having moved on to the nondeterministic synthesis of Baudrillardian and Deleuzian theory, command and control techniques, and materialistic concerns of complex systems and artificial life (including cellular automata) that would comprise "Policing the Spectrum" (1986) and War in the Age of Intelligent Machines (1992), DeLanda had largely eschewed by the mid-1980s his interests in "post-Freudian ideas of the unconscious... as well as any interest in film theory."