At the end of Expressionism in philosophy: Spinoza, Deleuze promulgates
a new materialism as a form of expressionism. What Deleuze means by this new
materialism has a strong bearing on the most recent literary trend under the rubric of
speculative realism, meaning that there is a possibility to think about objects without
having recourse to human consciousness. Albeit divergent in practices, they share
one thing: they aim at going beyond this ‘‘human access’’ to embrace a democracy
of objects which are vibrant, agential, and, perhaps, mind-independent. In this
analysis of Norman Spinrad’s Greenhouse Summer, I follow Guattari’s definitions
of an ecosophic object characterized by (1) material, energetic and semiotic Fluxes,
(2) concrete and abstract machinic Phylums, (3) virtual Universes of values, and (4)
finite existential Territories. From this global warming narrative, such concepts as
the crisis of reason, end-time apocalypticism and the epistemo-ontological binaries
between mind and matter, organic and inorganic human and nonhuman and personal
and collective will be discussed in the light of an object-oriented chaosmosis.
In this way the Guattarian ecosophic object its affect and processual reality is to be
looked at as an anecdote to the political economy of capitalism as represented by the
Big Blue Machine.

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• Climate change, chaosmosis, and the ecosophic object in Norman Spinrad’s Greenhouse Summer