Abstract
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If Deleuze and Guattari's nomadic thought can be said to apply to specific
places, then airports and art galleries are surely just such spaces. After all,
what could be more nomadic than an airport, the gateway to anywhere in the
world your desire and credit card can take you? Similarly, what could be more
nomadic than an art gallery, filled as it is with examples of wild, unrestrained
creativity? Yet one might also say the very opposite, because they are also
highly circumscribed and gridded spaces with rigorous schedules and tight
access rules. The final chapter of A Thousand Plateaus, which is in many ways
its most concrete chapter, takes up precisely this problem by proposing a
distinction between two different types of space: the smooth and the striated.