Today the (Transnational) State Apparatuses of neoliberal capitalism, ranging from educational institutions to the mass media and financial institutions, have effectively created and channelled desires towards consumerism, predicated on resource-extractive practices, within the context of what Gilles Deleuze calls societies of control. This control has also intensified in the digital era, particularly through Internet-based technologies which provide increasingly efficient platforms for the escalation of commodification – ironically, despite the reality of the ecological crisis being precipitated by the related extractive practices to the point where it now threatens the continued existence of life on earth. However, Deleuze and Guattari also theorised the possibility of resistance to such State Apparatus forces and the molar desires they canalise, in the form of nomadic war machines that can precipitate molecular desires into pursuing lines of flight towards radical difference. Similarly, within the context of societies of control, Deleuze describes counterinformation as a means of resistance which, through recourse to affect in a manner akin to art, contains the potential to deterritorialise State Apparatus desires. Yet, while Deleuze did not elaborate on the applicability of such nomadic war machines to the digital era, this thesis explores how the online artefacts of the ecosexual movement – involving what amount to minor literary performances – constitute digital media war machines, owing to the counterinformation they offer. Moreover, this thesis looks beyond the ambit of such current online artefacts, towards the creation of affective ecosexual cinematic movement- and time-images that, in their normalisation of sensual relations between humans and nature, may hold the key to bringing libidinal forces into play in support of pro-environmental politics.
Keywords: Ecosexuality, digital media, war machine, minoritarian-becoming, deterritorialisation,