Luis de Miranda

His philosophical essays develop a specific interest for societal issues, historical methods, technological devices, and the cosmological concept of continuous creation via process philosophy (Deleuze, Bergson, Heraclitus, Alfred North Whitehead, Hegel).

He has written a cultural and philosophical history of neon signs published by MIT Press (Being & Neonness),[3] a philosophical history of digital devices and automata (L'art d'être libres au temps des automates)[citation needed] presented by the French magazine Sciences Humaines as "a new utopia", "both philosophical, literary, artistic and scientific,[4] an analysis of the Lacanian concept of jouissance in its relation with capitalism, and a study on Deleuze which was translated and published by Edinburgh University Press (Deleuze Studies).

[10] at the University of Edinburgh[11] He explored the ideas of collective existence and the hive mind from a discourse analysis and conceptual history perspective: "Beyond well-being, “well-belonging” is a fundamental human aspiration.

[13] Along with the Creation of Reality Group,[14] he was the founder of the Anthrobotics Cluster, "a platform of cross-disciplinary research"[15] working on the relationship between humans, robots and artificial intelligence: "partial automation is part of the definition of what humans have always been",[16] "a hybrid unity made of flesh and protocols, creation and creature".

Luis de Miranda explains how a singular individual or group may arise from the play of the lines of life; eventually, he introduces the concept of 'Creal' to develop the Deleuzian figure of the 'Anomal', the so(u)rcerer, the active rather than reactive Nietzschean creator.

[22] Partly born out of his readings of Jacques Lacan, Karl Marx, Gilles Deleuze and Martin Heidegger between 2003-2007, The Creal (Créel in French), crealism or more recently crealectics is Luis de Miranda's proposed answer to the philosophical problem of the Real: "Creal is obviously a portmanteau compound of created-real.

Its aim is to explore the "transnational existential grammar[25] of the book and its universal themes, which although written in differing languages and using their own poetry describe the same human emotions".

In an interview with World Literature Today, Luis de Miranda described this collective project, performed with the collaboration of a network of translators, as "reawakening a sort of universal reader".