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The provenance of actor-network theory is poststructuralism by symbolic interactionism out of recent philosophers of science. As Law has it, the provenance of actor-network theory lies in poststructuralism: the vision is of many semiotic systems, many orderings, jostling together to generate the social. On the other hand, actor-network theory is more concerned with changing recursive processes than is usual in writing influenced by structuralism. It tends to tell stories, stories that have to do with the processes of ordering that generate effects such as technologies, stories about how actor-networks elaborate themselves, and stories which erode the analytical status of the distinction between the macro and microsocial.

The body is not an essence, let alone a biological substance. It is a play of forces, a surface of intensities; pure simulacra without originals’ (Braidotti 1994:163). Thinking also becomes an interplay of forces. Deleuze brings to the fore the affective foundations of the thinking process. It is as if beyond/ behind the propositional content of an idea there lay another category—the affective tone, level of intensity, desire or affirmation—that conveys the idea and ultimately gives it its value.

Such is Merleau-Ponty’s account of embodiment, relating action and the perceptual field by way of an intentional arc. ‘The life of consciousness—cognitive life, the life of desire or perceptual life—is subtended by an “intellectual one” which projects round about us our past, or future, or human setting, or physical, ideological and moral situation, or rather which results in our being situated in all these respects’ (1962:136). (Dreyfus and Rabinow 1993:38) In effect Bourdieu’s notions of field and habitus ground these ideas.

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