The airport is a totalitarian space; sometimes the truth is hyperbolic.
You re-enter the United States, land of your birth, as part of the stream of arriving passengers. It is an everyday experience. You leave the airplane slowly, on stiff limbs, trickling with the mass of travellers into Newark airport.
The imperatives are issued as soon as you enter the terminal building. No smoking. No cell phones. Stand in line. Fill in your declaration form. Foreigner here. Citizen there. Wait behind the red line till you are called. The armed immigration officer checks your papers, holding the power to pronounce your worthiness to enter this sanctified space.
With the imperatives come the questions. Where are you coming from? Where are you going? As if the answers are clear. As if these are simple questions. The man with the gun, holding your passport, asks, “Where are you flying next?” But he…
In an earlier post, I made reference to Jacob Klein’s essay about Husserl’s history of the origin of geometry. Klein’s own work is very impressive as well (Burt Hopkins has a recent book on both Klein and Husserl [a NDPR review is here), and reading through Klein’s book has helped me to see one reason why Deleuze so freely and regularly draws from both mathematics and art, though not just any mathematics or any art. Deleuze was interested in a problematic as opposed to axiomatic mathematics; and he was interested in a figural as opposed to figurative art. What the two have in common is a certain form of abstraction.
NDPR have 
