chaosmos

Deleuze and Guattari write of the necessity of tearing such holes through clichés and opinion to enable the arrival of difference in the form of chaosmos: "A chaosmos, a composed chaos — neither foreseen nor preconceived...Art struggles with chaos but it does so to render it sensory.

2003, Richard Doyle, Wetwares: Experiments in Postvital Living, →ISBN, page 15.6

In this sense, the paradoxical instance, or what we have defined as paradoxa, is the condition of possibility for chaosmos, or for any functioning assemblage, and it is chaosmos which is the expressed within events, or within the first stage of passive genesis.

2006, Jeffrey A. Bell, Philosophy at the Edge of Chaos, →ISBN

Which is worse, asks Kelly Hurley, 'London as a chaosmos–a space of meaningless noise, activity, sensation in which narratives indiscriminately crowd one another and no one narrative has any more significance than the next' or 'the paranoid network of deeply-laid and infernal designs'?

2013, Matthew Beaumont, Matthew Ingleby, G.K. Chesterton, London and Modernity, →ISBN

This is an evocation of the messy multiplicity and ambiguity of consumers and outsiders, in the warm chaosmos and on the far fringes of Birdland.

2014, Douglas Brownlie, Paul Hewer, Mark Tadajewski, Expanding Disciplinary Space: On the Potential of Critical Marketing, →ISBN