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The rhizome itself assumes very diverse forms, from ramified surface extension in all directions to concretion into bulbs and tubers. When rats swarm over each other. The rhizome includes the best and the worst: potato and couchgrass, or the weed. Animal and plant, couchgrass is crabgrass. We get the distinct feeling that we will convince no one unless we enumerate certain approximate characteristics of the rhizome. 1 and 2. Principles of connection and heterogeneity: any point of a rhizome can be connected to anything other, and must be. This is very different from the tree or root, which plots a point, fixes an order. The linguistic tree on the Chomsky model still begins at a point S and proceeds by dichotomy. On the contrary, not every trait in a rhizome is necessarily linked to a linguistic feature: semiotic chains of every nature are connected to very diverse modes of coding (biological, political, economic, etc.) that bring into play not only different regimes of signs but also states of things of differing status. COLLECTIVE ASSEMBLAGES OF ENUNCIATION (df: original italicized) function directly within MACHINIC ASSEMBLAGES; it is not impossible to make a radical break between signs and their objects. Even when linguistics claims to confine itself to what is explicit and to make no presuppositions about language, it is still in the sphere of a discourse implying particular modes of assemblage and types of social power. Chomsky's grammaticality, the categorical S symbol that dominates every sentence, is more fundamentally a marker of power than a syntactic marker: you will construct grammatically correct sentences, you will divide each statement into a noun phrase and a verb phrase (first dichotomy...). Our criticism of these linguistic models is not that they are too abstract but, on the contrary, that they are not abstract enough, that they do not reach the ABSTRACT MACHINE that connects a language to the semantic and pragmatic contents of statements, to collective assemblages of enunciation, to a whole micropolitics of the social field. A rhizome ceaselessly establishes connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles. A semiotic chain is like a tuber agglomerating very diverse acts, not only linguistic, but also perceptive, mimetic, gestural, and cognitive: there is no language in itself, nor are there any linguistic universals, only a throng of dialects, patois, slangs, and specialized languages. There is no ideal speaker-listener, any more than there is a homogeneous linguistic community. Language is, in Weinrich's words, "an essentially heterogeneous reality." There is no mother tongue, only a power takeover by a dominant language within a political multiplicity. Language stabilizes around a parish, a bishopric, a capital. It forms a bulb. It evolves by subterranean stems and flows, along river valleys or train tracks; it spreads like a patch of oil. It is always possible to break a language down into internal structural elements, an undertaking not fundamentally different from a search for roots. There is always something genealogical about a tree. It is not a method for the people. A method of the rhizome type, on the contrary, can analyze language only be decentering it onto other dimensions and other registers. A language is never closed upon itself, except as a function of impotence.

We in the humanities are in love with the archive. My readers already know that I am obsessed with archiving otherwise ephemeral social media. I’ve got multiple redundant systems for preserving my Twitter activity. I rely on the Firefox plugins Scrapbook and Zotero to capture any online document that poses even the slightest flight risk. I routinely backup emails that date back to 1996. Even my recent grumbles about the Modern Language Association’s new citation guidelines were born of an almost frantic need to preserve our digital cultural heritage. I don’t think I am alone in this will to archive, what Jacques Derrida called archive fever. Derrida spoke about the “compulsive, repetitive, and nostalgic desire for the archive” way back in 1994, long before the question of digital impermanence became an issue for historians and librarians. And the issue is more pressing than ever.

Theorists have devoted more interest to questions of "the virtual" recently. This is due, in part, to growing familiarity with the scientific concepts necessary to its interrogation, as well as the philosophical writings of Gilles Deleuze and those of philosophers he has resurrected, such as Spinoza and Bergson. But this interest is also the result of growing dissatisfaction with current theoretical approaches that rely on "top-down" methods unable to effectively account for the emergence or mutation of systems. Manuel DeLanda, for instance, has referred in his writing to oversimplifications that attribute causes to posited systems such as "late capitalism" without describing the causal interaction of their parts, which would change in different contexts. In his introduction to Parables for the Virtual, Brian Massumi argues that cultural theory's over-reliance on ideological accounts of subject-formation and coding has resulted in "gridlock," as the processes that produce subjects disappear in critiques that position bodies on a grid of oppositions (male-female, gay-straight, etc.). In one of his more exceptional examples, Massumi argues that Ronald Reagan's success as the "Great Communicator" was not due to his mastery of image-based politics to hypnotize an unwitting public. The opposite was the case. Reagan's halting speech and jerky movements were the source of his power, the infinite interruptions in his delivery so many moments of indeterminacy or virtual potential that were later made determinate by specific receiving apparatuses, such as families and churches. In short, interactions among non-ideological parts produced ideological power. Critiques that consider only the ends of ideology are unable to examine the very processes that create constraining subject-formations in the first place.