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  1. Sound’s Matter: ‘Deleuzian Sound Studies’ and the Problems of Sonic Materialism.Iain Campbell - 2020 - Contemporary Music Review 39 (5):618-637.
    This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...)
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  2. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  3. Antonin Artaud e la scrittura del reale. Glossolalie e disegni per un linguaggio analfabetico.Fabio Vergine - 2018 - Elephant and Castle. Laboratorio Dell'immaginario 1 (18).
    During the last ten years of his life, Antonin Artaud shows more and more intensively a multi-faceted and caustic refusal for traditional literature and the ordinary practice of writing. But above all, he shows a stylistic impatience for the alphabetic use of the word and the language. By the intention of creating an inhuman language, which could be understood also by the illiterate people, Artaud wants to undermine the significant use of the word, so that he can achieve a non-representative (...)
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  4. Un tempo oltre la storia: inconscio, après-coup e genealogia in psicoanalisi.Fabio Vergine - 2017 - L'inconscio. Rivista Italiana di Filosofia E Psicoanalisi 2018 (4):161-185.
    To the origin of psychoanalysis, in the thought of his founder, Sigmund Freud, the unconscious is properly timeless. In this work we will analyze the concept of Real in Jacques Lacan's thought, and at the same time we will try to understand the functioning of après-coup temporality on the relationship between the time of trauma and the time of symptom. Doing this, we will try to answer an essential question: if the concept of Real is the key concept of last (...)
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  5. Deleuze, Darwin and the Categorisation of Life.Nathan Eckstrand - 2014 - Deleuze and Guatarri Studies 8 (4):415-444.
    The paper looks at Deleuze's metaphysics and compares it to recent developments in biology and the metaphysical implications they have.
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  6. Review of Félix Guattari, The Anti-Oedipus Papers. [REVIEW]Daniel W. Smith - 2006 - Radical Philosophy 140:35-39.
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  7. Review of Gilles Deleuze, Two Regimes of Madness. [REVIEW]Daniel W. Smith - 2007 - Teaching Philosophy 30 (2):237-241.
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Guattari: Philosophy of Ecology
  1. MacCormack, Patricia (Ed.), The Animal Catalyst: Towards Ahuman Theory, Bloomsbury, London and New York, 2014. ISBN: 9781472534446 (Paperback) / 9781472526847 (Cloth), 224 Pp., US$ 34.95 (Paperback) / US$ 104 (Cloth). [REVIEW]Marietta Radomska - 2015 - Somatechnics 5:255-258.
    The ‘Animal Question’ has occupied Western philosophy for more than a decade now. Whether inspired by the rising urgency of the problem of violence towards and exploitation of nonhuman animals perpetuated by science, technology and culture broadly speaking, or by an enthralment with otherness, an increasing number of theorists engage with the concepts of the animal and human–nonhuman relations. These notions become an incessant impetus for creative and critical inquiry and the exploration of philosophical, political, ethical and artistic thinking. What, (...)
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  2. Posthuman Ecologies of the Corpse. [REVIEW]Marietta Radomska - 2019 - Women, Gender and Research 28:124-126.
    Erin E. Edwards’ "The Modernist Corpse: Posthumanism and the Posthumous" offers a unique study of the critical and creative potential of the corpse in the context of (primarily) American modernist literature and other media. Dead bodies, oftentimes “radically dehumanized” (p. 1) and depicted en masse in direct relation to atrocities of colonialism, slavery and World War I, populate modernist literature and art. While many literary theorist whose work focuses on American modernism (as Edwards herself notes), looks at death and corpses (...)
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  3. Elämästä luopuminen -Biofilosofiasta, epä/elämisestä, toksisesta ruumiillistumisesta ja etiikan uudelleenmuotoilusta.Marietta Radomska & Cecilia Åsberg - 2020 - Niin and Näin 1:39-46.
    Elämä tavataan nähdä kuoleman vastakohtana. Tällaisen kahtiajaon ulkopuolelle mahtuu kuitenkin paljon ontologisia ja eettisiä kysymyksiä, joita on lähdettävä purkamaan toisesta suunnasta. Marietta Radomska ja Cecilia Åsberg ehdottavat suunnaksi biofilosofiaa, jossa elämistä ja kuolemista tarkastellaan yhteen kietoutuneina ja yhdessä muuttuvina.
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  4. Non/Living Matter, Bioscientific Imaginaries and Feminist Techno-Ecologies of Bioart.Marietta Radomska - 2017 - Australian Feminist Studies 32 (94):377-394.
    Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of (...)
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  5. Deleuze, Haraway, and the Radical Democracy of Desire.Robert Leston - 2015 - Configurations: A Journal of Literature, Society, and Technology 23 (3):355-376.
    In response to suggestions that Deleuze and Guattari are the “enemy” of companion species, this essay explores the tension between Donna Haraway’s attacks against Deleuze and Guattari and their philosophy of becoming animal. The essay goes on to contextualize Deleuze and Guattari’s statements against pet-owners through a discussion of the psychoanalytical refiguration of desire and shows how their ostensible attack against pet owners fits into their larger critique against capitalism. The essay illustrates why Deleuze and Guattari and Haraway are more (...)
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  6. Three Concepts for Crossing the Nature-Artifice Divide: Technology, Milieu, and Machine.Marco Altamirano - 2014 - Foucault Studies 17:11-35.
    The distinction between nature and artifice has been definitive for Western conceptions of the role of humans within their natural environment. But the human must already be separated from nature in order to distinguish between nature and artifice. This separation, in turn, facilitates a classification of knowledge in general, typically cast in terms of a hierarchy of sciences that ascends from the natural sciences to the social (or human) sciences. However, this hierarchy considers nature as a substantial foundation upon which (...)
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Guattari: Aesthetics
  1. Non/Living Matter, Bioscientific Imaginaries and Feminist Techno-Ecologies of Bioart.Marietta Radomska - 2017 - Australian Feminist Studies 32 (94):377-394.
    Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of (...)
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  2. The Threshold of The Invisible: Said, Conrad, and Imperialism.Russell Ford - 2006 - Philosophy Today 50 (4):463-476.
    Joseph Conrad’s Heart of Darkness is a frequent point of reference for Edward Said’s investigations into the various forces that structure and define the encounter of imperial societies with others. In Culture and Imperialism, Said explains the importance of Conrad’s novella by linking it to his concept of culture as the aesthetic acme of a society that simultaneously marks it and divides it from others. In Heart of Darkness, Said claims, we have a narrative that challenges its own imperial society (...)
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  3. Bullfighting, Sex and Sensation.Hélène Frichot - 2001 - Colloquy 5.
    The investigation that follows will flex in four directions, backwards and forwards, along the elastic threadthat ties the event of the bullfight to sex and thence a warm spill of sensation. In order to enter the fraythat is the bullfight, I will appropriate a term from Gilles Deleuze and Félix Guattari by way of which eachof the four thrusts I advance, or fights I present, can be read as asignifying ruptures [1] . With thisconcept we are encouraged to question the (...)
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  4. Dead Letters.Russell Ford - 2013 - LIT: Literature Interpretation Theory 24 (4):299-317.
    This essay considers Richard Calder’s Dead trilogy as an important contribution to the argument concerning how pornography’s pernicious effects might be mitigated or disrupted. Paying close attention to the way that Calder uses the rhetoric of fiction to challenge pornographic stereotypes that have achieved hegemonic status, the essay argues that Calder’s trilogy provides an important link between debates about pornography and contemporary philosophical discussions of alterity and community. Finally, it argues that, for Calder, sexuality is implicitly predicated on a reconceptualization (...)
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  5. Desired Machines: Cinema and the World in Its Own Image.Jimena Canales - 2011 - Science in Context 24 (3):329-359.
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Guattari: Works
Deleuze and Guattari: Rhizome
  1. ≪null>me<null≫: Algorithmic Governmentality and the Notion of Subjectivity in Project Itoh's Harmony.Fatemeh Savaedi & Maryam Alavi Nia - 2021 - Journal of Science Fiction and Philosophy 4.
    Algorithmic governmentality is a new form of political governance interconnected with technology and computation. By coining the term “algorithmic governmentality,” Antoinette Rouvroy argues that this mode of governance reduces everything to data, and people are no longer individuals but dividuals (able to be divided) or readable data profiles. Implementing the concept of algorithmic governmentality, the current study analyses Project Itoh’s award-winning novel Harmony in terms of such relevant concepts as “subjectivity,” “infra-individuality” and “control,” as suggested by Rouvroy and colleagues. The (...)
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  2. Review of Louis Baldwin's Portraits of God: Word Pictures of the Deity From the Earliest Times Through Today. [REVIEW]Subhasis Chattopadhyay - 2020 - Prabuddha Bharata or Awakened India 125 (07):573.
    This review points out how Baldwin's book is unique in that it foregrounds proto-Marxist views of God. But it misses the mark by not mentioning "Gilles Deleuze and Félix Guattari’s work on the rhizomic nature of the Buddhist ‘mandala’.".
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  3. On Levi R. Bryant’s “Dim Media” by Ekin Erkan.Ekin Erkan - 2019 - MediaCommons 5:1-20.
    A commissioned article about philosopher of ecology Levi Bryant, and his theory of urban space.
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  4. Nietzsche’s philosophy as a creation of concepts (XVI Kyiv-Mohyla Seminar on the History of Philosophy).Тaras Lyuty, Mykhailo Minakov, Vakhtang Kebuladze & Vadym Menzhulin - 2018 - Наукові Записки Наукма. Філософія Та Релігієзнавство 1:91-105.
    Kyiv-Mohyla Seminar on the History of Philosophy was established by the Kyiv-Mohyla Academy’s Department of Philosophy and Religious Studies (in co-operation with Ukrainian Philosophical Foundation) in 2003. In this yearly seminar, the Department’s members as well as the historians of philosophy from other academic institutions regularly take part. Since 2003, 16 meetings of the seminar took place. They were focused on such topics as “Historiography of Philosophy in Ukraine: Current State and Perspectives” (2003), “Actual Problems of the Source Studies in (...)
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  5. On the Concept of Creal: The Politico-Ethical Horizon of a Creative Absolute.Luis De Miranda - 2017 - In The Dark Precursor: Deleuze and Artistic Research. Leuven University Press. pp. 510-516.
    Process philosophies tend to emphasise the value of continuous creation as the core of their discourse. For Bergson, Whitehead, Deleuze, and others the real is ultimately a creative becoming. Critics have argued that there is an irreducible element of (almost religious) belief in this re-evaluation of immanent creation. While I don’t think belief is necessarily a sign of philosophical and existential weakness, in this paper I will examine the possibility for the concept of universal creation to be a political and (...)
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  6. The Writer as an Acrobat: Deleuze and Guattari on the Relation Between Philosophy and Literature (and How Kierkegaard Moves in-Between).Daphne Giofkou - 2015 - Transnational Literature 7 (2).
    Throughout his work, Deleuze not only draws on literature in order to address philosophical problems but he seeks to map out the ‘mobile relations’ between philosophy and literature. After an initial overview, I will focus on A Thousand Plateaus (1980), a book co-authored with Guattari, and in particular, on plateaus “1874: Three Novellas or ‘What happened?’” and “1730: Becoming-intense, becoming-animal, becoming-imperceptible…” In doing so, I aim to explore: (a) how the relation between literature and philosophy is refracted in Novellas Plateau (...)
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  7. Bullfighting, Sex and Sensation.Hélène Frichot - 2001 - Colloquy 5.
    The investigation that follows will flex in four directions, backwards and forwards, along the elastic threadthat ties the event of the bullfight to sex and thence a warm spill of sensation. In order to enter the fraythat is the bullfight, I will appropriate a term from Gilles Deleuze and Félix Guattari by way of which eachof the four thrusts I advance, or fights I present, can be read as asignifying ruptures [1] . With thisconcept we are encouraged to question the (...)
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  8. Technological Stripping and Meaning Production in 'Duchamp’s The Large Glass'.Monika Wludzik - 2014 - Avant: Trends in Interdisciplinary Studies (2):193-206.
    The scope of the essay is limited by the ideas behind the mechanisation of desire as conceptualised in The Large Glass by Marcel Duchamp. This glass-based installation depicts a convoluted mechanism, as the full-title of the work suggests, representing The Bride Stripped Bare by her Bachelors, Even. Using tropes and figures from his earlier studies, the artist designed a machine for the production of desire, rendering the unconscious mechanical and dynamic. The paper aims to present selected aspects of the installation, (...)
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  9. Identidad y poder en las sociedades de control.Antonio Tudela Sancho - 2009 - Revista de Filosofía (Venezuela) 61 (1):7-37.
    La finalidad del presente ensayo consiste en partir de las nociones interrelacionadas de "capitalismo mundial integrado" (Guattari) y de "sociedad de control" (Deleuze) para intentar una deriva que cruce géneros, épocas y nombres propios: de la filosofía al cine y a la poesía (caminos de ida y vuelta), de Benjamin a Serres pasando por Homero, Kavafis, Cioran o Godard, del tardío imperio romano y sus incertidumbres a la imprecisión de nuestro propio tiempo. Posiblemente, pensar hoy la identidad humana sea como (...)
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  10. Is A New Life Possible? Deleuze and the Lines.Miranda Luis de - 2013 - Deleuze and Guatarri Studies 7 (1):106-152.
    In his dialogues with Claire Parnet, Deleuze asserts that: ‘Whether we are individuals or groups, we are made of lines’ (Deleuze and Parnet 2007: 124). In A Thousand Plateaus (with Guattari), Deleuze calls these kinds of ‘lifelines’ or ‘lines of flesh’: break line (or segmental line, or molar line), crack line (or molecular line) and rupture line (also called line of flight) (Deleuze and Guattari 2004a: 22). We will explain the difference between these three lines and how they are related (...)
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  11. Flow, Code and Stock: A Note on Deleuze's Political Philosophy.Daniel W. Smith - 2011 - Deleuze and Guatarri Studies 5 (Suppl):36-55.
    In Anti-Oedipus, Deleuze and Guattari claim that a general theory of society must be a generalised theory of flows. This is hardly a straightforward claim, and this paper attempts to examine the grounds for it. Why should socio-political theory be based on a theory of flows rather than, say, a theory of the social contract, or a theory of the State, or the questions of legitimation or revolution, or numerous other possible candidates? The concept of flow (and the related notions (...)
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  12. The Difference Between Science and Philosophy: The Spinoza-Boyle Controversy Revisited.Simon Duffy - 2006 - Paragraph 29 (2):115-138.
    This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each correspondent. Commentators (...)
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  13. Kafka's Jewish Languages: The Hidden Openness of Tradition.David Suchoff - 2007 - Journal of Jewish Thought and Philosophy 15 (2):65-132.
    This essay connects Kafka's German and his Jewish linguistic sources, and explores the trans-national perspective on literary tradition they helped him create. I begin with a critique of Deleuze and Guattari's view of Kafka as a minority writer, showing how their cold war nationalism scants the positive contributions that Yiddish and Hebrew made to his work. I continue with an examination of the "twilight of containment," when this postcontemporary Kafka began to break through his cold war canonization after 1989. Other (...)
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  14. Deleuze and Merleau-Ponty: Immanence, Univocity and Phenomenology.Jack Reynolds & Jon Roffe - 2006 - Journal of the British Society of Phenomenology 37 (3):228-51.
    This paper will seek firstly to understand Deleuze’s main challenges to phenomenology, particularly as they are expressed in The Logic of Sense and What is Philosophy?, although reference will also be made to Pure Immanence and Difference and Repetition. We will then turn to a discussion of one of the few passages in which Deleuze directly engages with Merleau-Ponty, which occurs in the chapter on art in What is Philosophy? In this text, he and Guattari offer a critique of what (...)
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Guattari, Misc
  1. La modulation spinoziste. Pour se purifier de la philosophie.Jack Stetter - 2017 - In Timea Gyimesi (ed.), Modulation — Deleuze. Szeged, Hungary: JATE Press. pp. 49-58.
    Une analyse de l'interprétation de la philosophie spinoziste comme philosophie de l'immanence soutenue par G. Deleuze, notamment dans "Qu'est-ce que la philosophie?" (Paris: Éd. Minuit, 1991).
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  2. Nietzsche’s philosophy as a creation of concepts (XVI Kyiv-Mohyla Seminar on the History of Philosophy).Тaras Lyuty, Mykhailo Minakov, Vakhtang Kebuladze & Vadym Menzhulin - 2018 - Наукові Записки Наукма. Філософія Та Релігієзнавство 1:91-105.
    Kyiv-Mohyla Seminar on the History of Philosophy was established by the Kyiv-Mohyla Academy’s Department of Philosophy and Religious Studies (in co-operation with Ukrainian Philosophical Foundation) in 2003. In this yearly seminar, the Department’s members as well as the historians of philosophy from other academic institutions regularly take part. Since 2003, 16 meetings of the seminar took place. They were focused on such topics as “Historiography of Philosophy in Ukraine: Current State and Perspectives” (2003), “Actual Problems of the Source Studies in (...)
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  3. From "No Future" to "Delete Yourself ".Robin James - 2013 - Journal of Popular Music Studies 25 (4).
    Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...)
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