Timelines is an inquiry into the nature of time, both as an apparent feature of the external physical world and as a fundamental feature of our experience of ourselves in the world. The principal argument of Timelines is that our coventional ideas about time are largely mistaken and that what we think of as independent physical time is actually our calibration of a certain relation between events. Namely, the relation between time-keeping events and the causal sequential differences of physical processes (...) which are real and independent of us. (shrink)

In this work, we will approach some essential questions about the collective imaginary and their relations with reality and truth. We should face this subject in a conceptual framework, followed by the corresponding factual analysis of demonstrable behavioral realities. We will adopt not only the methodology, but mostly the tenets and propositions of the analytic philosophy, which certainly will be apparent throughout the study, and may be identified by the features described by Perez : -/- Rabossi (1975) defends the idea (...) that analytic philosophy can be identified by considering certain family resemblances. He suggests the following family traits: a positive attitude toward scientific knowledge; a cautious attitude toward metaphysics; a conception of philosophy as a conceptual task, which takes conceptual analysis as a method; a close relationship between language and philosophy; a concern with seeking argumentative answers to philosophical problems; search for conceptual clarity Perez, Diana Ines, "Analytic Philosophy in Latin America”, The Stanford Encyclopedia of Philosophy ). These core concepts involve cultural, social, religious, scientific, philosophic, moral, and political contents, belonging to the individual and collective existence of each one of us. The present work grounds itself on analytical reflection. We will speculate the most comprehensive and profound way we can and express the results of our thoughts. Notwithstanding the multidisciplinary nature of the subject and the methodological openness for accepting contributions from any field of science, this work belongs to the aim of psychology and ontology or, in other terms, social and ontological psychology. The main scope of this paper is to observe how some essential evolutionary attributes of humankind, like creativity, imagination, and association, can become a hazardous sickness, sheltered in the misty shadows of the intelligence. (shrink)

Socially extended knowledge has recently received much attention in mainstream epistemology. Knowledge here is not to be understood as wholly realised within a single individual who manipulates artefacts or tools but as collaboratively realised across plural agents. Because of its focus on the interpersonal dimension, socially extended epistemology appears to be a promising approach for investigating the deeply social nature of epistemic practices. I believe, however, that this line of inquiry could be made more fruitful if it is connected with (...) the critical notion of epistemic responsibility, as developed in feminist responsibilism. According to feminist responsibilists, at the core of epistemic responsibility is a critical disposition toward correcting epistemic injustice. This epistemic idea is highly relevant to the epistemological context of illness, where patient testimony is often disregarded. Hence, though restricted to the epistemological context of the experience of illness, this chapter delves into epistemic injustice and its robust mechanisms. I thus explore what responsible epistemic practices should involve in order to redress that injustice and how epistemic responsibility should be socially extended. The discussion proceeds as follows. First, by relying on Arthur Frank’s innovative work on illness narratives, I focus on chaotic bodily messages from patients overwhelmed by suffering and then explain why these messages should count as genuine narratives or testimonies despite their inarticulateness. Second, I elaborate on how epistemic injustice concerning such narratives (i.e., chaos narratives) is produced and reproduced, in particular how both a dominant sociocultural norm and our inherent vulnerability can contribute to its production and reproduction. Finally, I propose an extended form of epistemic responsibility that ameliorates this aspect. Laying particular emphasis on the epistemic role of mature empathy, I characterise the extended epistemic responsibility in terms of extended empathic knowledge. (shrink)

Nicholas Rescher’s way of understanding process philosophy reflects the ambitions of his own philosophical project and commits him to a conceptually ideal interpretation of process. Process becomes a transcendental idea of reflection that can always be predicated of our knowledge of the world and of the world qua known, but not necessarily of reality an sich. Rescher’s own taxonomy of process thinking implies that it has other variants. While Rescher’s approach to process philosophy makes it intelligible and appealing to mainstream (...) analytic philosophy, it leaves behind the more daring ideas of Bergson, James, and Whitehead, all of whom envisioned the primordial reality of process in a radical ontology of becoming. This variant of process thought can be construed as coherent and self-consistent, but not without relinquishing the correspondence theory of truth and embracing challenging ideas that bring us in close proximity to existentialism, apophatic theology, and Buddhism. (shrink)

Time’s arrow is necessary for progress from a past that has already happened to a future that is only potential until creatively determined in the present. But time’s arrow is unnecessary in Einstein’s so-called block universe, so there is no creative unfolding in an actual present. How can there be an actual present when there is no universal moment of simultaneity? Events in various places will have different presents according to the position, velocity, and nature of the perceiver. Standing against (...) this view is traditional common sense since we normally experience time’s arrow as reality and the present as our place in the stream of consciousness, but we err to imagine we are living in the actual present. The present of our daily experience is actually a specious present, according to E. Robert Kelly (later popularized by William James), or duration, according to Henri Bergson, an habitus, as elucidated by Kerby (1991), or, simply, the psychological present (Adams, 2010) – all terms indicating that our experienced present so consists of the past overlapping into the future that any potential for acting from the creative moment is crowded out. Yet, for philosophers of process from Herakleitos onward, it is the philosophies of change or process that treat time’s arrow and the creative fire of the actual present as realities. In this essay, I examine the most well known but possibly least understood process cosmology of Alfred North Whitehead to seek out this elusive but actual present. In doing so, I will also ask if process philosophy is itself an example of the creative imagination and if this relates to doing science. I conclude Whitehead's process philosophy falls short of allowing for the actual creative spontaneity of a dynamic (eternal) present. (shrink)

Misremembering is a systematic and ordinary occurrence in our daily lives. Since it is commonly assumed that the function of memory is to remember the past, misremembering is typically thought to happen because our memory system malfunctions. In this paper I argue that not all cases of misremembering are due to failures in our memory system. In particular, I argue that many ordinary cases of misremembering should not be seen as instances of memory’s malfunction, but rather as the normal result (...) of a larger cognitive system that performs a different function, and for which remembering is just one operation. Building upon extant psychological and neuroscientific evidence, I offer a picture of memory as an integral part of a larger system that supports not only thinking of what was the case and what potentially could be the case, but also what could have been the case. More precisely, I claim that remembering is a particular operation of a cognitive system that permits the flexible recombination of different components of encoded traces into representations of possible past events that might or might not have occurred, in the service of constructing mental simulations of possible future events. So that imagination and memory are but one thing, which for diverse considerations hath diverse names.Thomas Hobbes, Leviathan 1.2. (shrink)

The main purpose of this article is, from a semiotic perspective, arguing for the recognizing of a semantic role of the imagination as a necessary condition to our linguistic experience, regarded as an essential feature of the relations of our thought with the world through signification processes ; processes centered in but not reducible to discourse. The text is divided into three parts. The first part presents the traditional position in philosophy and cognitive sciences that had barred until recent times (...) the possibility to investigate the semantic function performed by imagination, mainly due to the anti-psychologist arguments on which it is based. After that, I situate my perspective inside of the recent research panorama in philosophy and cognitive science. The second part presents the semiotic framework on the relation between thought, language, and world, conceived through the concepts of signification processes and sense-conditions. Within this framework, I introduce the concept of linguistic experience, characterizing semantic imagination as one of its sense-conditions. In the third part, several pieces of evidence for corroborating the semantic function of imagination are discussed. These pieces come from the fields of phenomena denoted as diagrammatic thought and counterfactual thought. Diagrammatic thought, briefly discussed, points out the semantic work of imagination in the semi-discursive sign systems constructed in mathematics, logic, and natural science. After defending a widening of the concept of counterfactual thought, and its intrinsic relation with semantic imagination, the role of semantic imagination is briefly discussed in some types of counterfactual thought found in our conceptions of modal concepts, in thought experiments, in apagogical arguments, and in the creative discursive devices. (shrink)

Several substantial critiques remain a source of fractionalizing debate within transpersonal psychology, including the weakness of its definition, whether it is redundant with Wilber’s integral psychology, whether it is a scientific field, whether it is too metaphysical, whether it neglects the problem of evil, and what contribution can it make to mainstream psychology. This article explicates these and related areas of critique and provides a response that identifies the essential challenges and future prospects of transpersonal psychology. The article also emphasizes (...) the field’s unique role as a potential bridge connecting psychological science with the transpersonal psyche in a way that can more fully recognize the importance of the latter. (shrink)

According to What Is Philosophy?, all disciplines combat opinion, but art fights most effectively because art and opinion both pertain to sensibility. Yet, this common provenance also makes the line dividing art and opinion porous. The stakes of this porosity are perhaps most visible in the relation of art to life. Although art must avoid two forms of death, ‘chaos’ and ‘opinion’, Deleuze and Guattari don't treat chaos and opinion equally. The fundamental distinction between good death and bad death, between (...) death by chaos and death by opinion, has a number of problematic consequences. Perhaps the most consequential: opinion is deadlier than death itself. (shrink)

Using Deleuzian theory for educational research and practice has become an increasingly popular activity. However, there are many theoretical complexities to the straightforward application of Deleuze to the educational context. For example, the ‘new materialism’ that Deleuze refers to in the 1960s takes its inspiration from Spinoza, and is an emancipatory project. Contrariwise, the ‘new materialism’ of the present moment is frequently applied to educational research and practice specifically as a way out of anthropocentric limits and enclosure. This paper explores (...) the combined forces of humanism and naturalism which are at work in Deleuze’s ‘new materialism’, as type of ‘more-than-human’ emancipation method derived from Bergson and Nietzsche; it is a mode of overcoming human limits, which fully takes into account the connections to and with the non-human world and the ecological consequences of human action. This paper will draw out the specific consequences for educational research and practice in schools of the ‘vitalist-nihilism’ we may derive from Bergson and Nietzsche to analyse matter flows as they enter, mingle with, and exit schools. (shrink)

While today there is much discussion about the ethics of artificial intelligence, less work has been done on the philosophical nature of AI. Drawing on Bergson and Ricoeur, this paper proposes to use the concepts of time, process, and narrative to conceptualize AI and its normatively relevant impact on human lives and society. Distinguishing between a number of different ways in which AI and time are related, the paper explores what it means to understand AI as narrative, as process, or (...) as the emergent outcome of processes and narratives. It pays particular attention to what it calls the “narrator” and “time machine” roles of AI and the normative implications of these roles. It argues that AI processes and narratives shape our time and link past, present, and future in particular ways that are ethically and politically significant. (shrink)

A blindfolded clairvoyant walks into a room and immediately knows how it is arranged. You walk in and immediately see how it is arranged. Though both of you represent the room as being arranged in the same way, you have different experiences. Your experience doesn’t just represent that the room is arranged a certain way; it also visually presents the very items in the room that make that representation true. Call the felt aspect of your experience made salient by this (...) contrast its presentational phenomenology. Many philosophers have observed that perceptual experiences have presentational phenomenology. In this paper I explore its nature, scope, and significance. I argue that in addition to perceptual experiences, presentational phenomenology can be found in intuitive, introspective, imaginative, and recollective experiences. I also argue that presentational phenomenology is epistemologically significant: it plays a central role in explaining why the experiences that have it justify beliefs and give us knowledge. (shrink)

Although memory is pivotal to consciousness and without it no perceptual judgment or thinking is possible, Nyāya epistemology does not accept memory as a knowledge source. Prof Matilal elucidates and defends Udayana’s justification for calling into question the knowledgehood or even truth of any recollection. Deepening Matilal’s argument, this paper first shows why, if a remembering reproduces exactly the original experience from which it borrows its truth-claim, then there is a mismatch between the time of experience and the time of (...) recall and the remembering ends up being false. To correct that error, if we change the tense in the content of recollection, the added past-ness goes beyond the original experience and violates the purely reproductive nature of memory. The paper ends by responding to this Nyāya position using arguments from Dvaita Vedānta and Jaina epistemology where remembering can be veridical and memory is accepted as an important knowledge source. The additional element of past-ness cannot be derived from sense perception. It has to be a spontaneous contribution of the inner sense. (shrink)

Irène Némirovsky’s novella Les Mouches d’automne paints an effective portrait of exile, of the longing for the lost home, and the disorientation that one feels when faced with a reality that is neither recognizable nor understandable. In this article, I analyse Némirovsky’s narrative strategies in relation to spatio-temporal phenomena. My analysis is based on the work of philosophers Mikhail Bakhtin and Gilles Deleuze: Bakhtin’s chronotope and Deleuze’s crystal-image illuminate how the novella’s dominant themes, exile and nostalgia for the home, are (...) irreducible to the clichés of a linear narration and to the simplistic dichotomy home/exile, past/present, and here/there. Instead, Némirovsky creates a productive tension of overlapping and coalescing space- and time-frames. The philosophical framework provided by Bakhtin and Deleuze is useful to unlock and make visible how this thematic complexity is reflected in the novella’s narrative structure. Indeed, my analysis of Les Mouches’s chronotopes and crystal images illuminates Némirovsky’s innovative experimentation in the creation of time–space crossings and a/synchronies, and also contributes to extend further our understanding of Némirovsky’s place within the contemporaneous literary panorama. (shrink)

In this article, I rethink the key arguments of my co-authored paper Teaching Pleasure and Danger in Sexuality Education (Author and Co, 2013 Author and Co. (2013). Teaching pleasure and danger in sexuality education. Sex Education, 13(2), 121–132.[Taylor & Francis Online], [Web of Science ®], [Google Scholar]) by bringing the postmodern logic of critical sexuality education theory into conversation with the relational ontology of new materialism. I begin by rejecting the key problem presented in Author and Co’s (2013) paper as (...) a false problem. This false problem is the drawing of an ‘unqualified line’ between positive and negative sexual experience in sexuality education. Instead, I argue that the actual problem is the initial act of drawing a line to separate sexual experience into a binary. My modification of the problem is an ontological move that allows me to consider sexuality education outside the binaries of negative and positive experience. Elaborating on the ontology problem presented in my paper Teaching Pleasure and Danger in Sexuality Education, I explain new materialism and its key task of realizing the interdependence of dualist terms. Drawing on Bergson and Braidotti’s philosophies of difference, I argue that pushing for sex-positive sexuality education strengthens the sex-negativity in sexuality education. I further critique the logic of negation that structures sexuality education by interrogating the contemporary push for pleasure-based sexuality education. Through this process of rethinking my previous scholarship through new materialist logic, I begin the task of reconfiguring the phallogocentric sexual subject as a subject-in-the-process. The conclusion of this article offers a beginning consideration of sexuality as an act of becoming where forces brought into relationship are entangled, creating a new thing. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

Remembering a cat sleeping (specifically, recollecting the way the cat looked), perceiving (specifically, seeing) a cat sleeping, and imagining (specifically, visualizing) a cat sleeping are of course importantly different. Nonetheless, from the first-person perspective they are palpably alike. The paper addresses two questions: Q1. What are these similarities (and differences)? Q2. How does one tell that one is recalling (and so not perceiving or imagining)?

This paper advocates the main ideas of the interactive model of representation of Mark Bickhard and the assimilation/accommodation framework of Jean Piaget, through a rhythm recognition demonstration program. Although completely unsupervised, the program progressively learns to recognize more and more complex rhythms struck on the user's keyboard. It does so without any recording of the input flow, and without any pattern matching in the usual sense. On the contrary, internal processes are dynamically constructed to follow and anticipate the user's actions. (...) We show that these processes are representations of the rhythms in the interactivist sense, and that they emerge from non representational grounds, avoiding the symbol‐grounding problem. They are not copies or transductions of reality, but ideal internal constructions of the agent, avoiding the circularity pointed out by Piaget. In practice, the active nature of this recognition process allows it to work even with noisy and complex input flows. (shrink)

The aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord's practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore (...) these two interpretations, this article uses Guy Debord's 1973 film The Society of the Spectacle as a case study. By focusing on this specific object, the two interpretations of the cinematic interval make it possible to compare two alternative ways of dealing with the representability – or unrepresentability – of capital, and hence to sketch two alternative views on the politics of found footage film practices. (shrink)

What potential can be found in the work of Deleuze and Guattari for critical legal scholarship? The authors argue that their work can be deployed to re-think ‘critique’ by directly addressing the place and role of the ‘critic’. It is argued that the continued commitment to a stance of ‘resistance’ in CLS is underpinned by never-ending dualisms which, if not confronted and replaced, can only make CLS ever more redundant. The authors ask: ‘what is critique beyond the dualism of power (...) and resistance, of state and nomad?’ This question arises from a belief that critique is still capable of being effective, but only if there is the courage to experiment, and to think creatively. In this sense, the ‘exhaustion’ of critique is framed as an opportunity to re-think and re-engage with the politics of law. The paper diagrams, through image and film, a critical thought: the potential of the artisan. Film is utilised not as representation, nor as illustration, but as a thinking mind in its own right, through which questions relating to the state, political action, and creative thinking can be framed. Such a re-framing is essential, it is argued, for an engagement with the emergence of societies of control. (shrink)

Sāṃkhya, or the philosophy of Yoga, is considered to be one of the most influential traditional philosophies in India. A close reading of it can lead to the conclusion that Sāṃkhya's and Deleuze's philosophy share similar ontological assumptions, especially regarding the material field of immanence that manifests itself through every mode of being. Both philosophies assume modes or degrees of material coexistence that extend from the virtual, potential field of immanence, as something conditional and causal, to actual manifestation that is (...) more or less structured, graspable and shaped. Additionally, they both consider the human psyche to be material that, as materiality itself, manifests itself through different modes of conscious existence. On the other hand, they also share the assumption about the transcendental field of impersonal consciousness immersed in the material field of immanence. This paper identifies and explains the causal relationship among these different modes of being from the point of view of a particular understanding of time, and offers insight into how the comprehension of causality could be implied in ethical theory. (shrink)

Habit is an integral concept for body studies, a hybrid concept and one that has provided the bedrock across the humanities for considering the interrelationships between movement and stasis, being and becoming, and process and fixity. Habits are seen to provide relay points between what is taken to be inside and outside, disrupting any clear and distinct boundary between nature and culture, self and other, the psychological and social, and even mind and matter. Habit thus discloses a paradox. It takes (...) up a unique position in affect modulation, which encompasses both regulation (in the form of discipline) and also extends the body’s potential for engaging the new, change and creativity. In order to understand the basis of the ambivalent duality governing understandings of habit it is argued that a genealogical approach to this question is necessary. This will be located within the recent ‘turn to affect’ and histories of conation within the psychological sciences, particularly taking the writings of William McDougall as a focus. (shrink)

This essay offers a critique of the philosophical ‘turn to affect’, a formation represented here by the work of Brian Massumi and Mark Hansen. In such discourses, affect is celebrated as an entity that is inimical to conceptualisation, subjective intention and linguistic transcription. However, insofar as it boasts such qualities, affect cannot, I argue, be celebrated or made the object of a critical ‘turn’. In drawing on Deleuze's work, contemporary scholarly discourses on affect dispense with Deleuze's most profound proposition: of (...) an order of philosophy, perception, reflection and thought that originates outside, or is no longer dependent upon, a human perspective. (shrink)

This article builds upon concepts of simultaneity and coexistence offered by Bergson and Deleuze to explore new approaches to cinematic audibility. Recognised film theory terms such as synchronisation and synchresis approach sonic time from the transcendent distance of audioviewership. This essay moves cinematic experience inward to ask what is audible within the film world itself. Simultaneity and coexistence penetrate cinematic time to express a multiplicity of audible layers, threads or lines that occur in relation to image-events. The essay both advances (...) and critiques Bergson's and Deleuze's conceptions of time, making it relevant to both film studies and metaphysics. (shrink)

In a conference from 1987 on ‘What is the Creative Act?’, Deleuze argues that a fundamental and mysterious affinity subsists between the work of art and the act of resistance. Starting from this statement, Agamben in his echoing text ‘What is the Act of Creation?’ presents an idea of resistance co-essential to power itself. Each power, in other words each possibility for human beings of doing something, is connected to their impotence, not necessarily understood as total absence of power, but (...) as potential to not-do. Therefore, in the very creative act one detects something that resists and opposes the critical possibility of a retreat, of an emptiness that is itself a form of potentiality. The essay picks things up from here. The act of resistance, described in terms of dynamis, as power which is always in contact with its power-not-to, is identified as the core element of modern cinema images, notably in Italian neorealism. (shrink)

My goal is to conceive how the reality would look like for hypothetical creatures that supposedly perceive on time scales much faster or much slower than that of us humans. To attain the goal, I propose modelling in two steps. At step one, we have to single out a unified parameter that sets time scale of perception. Changing substantially the value of the parameter would mean changing scale. I argue that the required parameter is duration of discrete perceptive frames, or (...) snapshots, whose sequencing constitutes perceptive process. I show that different standard durations of perceptive frames is the ground for differences in perceptive time scales of various animals. Abnormally changed duration of perceptive frames is the cause of the effect of distorted subjective time observed by humans under some conditions. Now comes step two of the modelling. By inserting some arbitrary duration of a perceptive frame, we set a hypothetical scale and thus emulate a viewpoint for virtual observation of the reality in a wider or narrower angle of embracing events in time. Like changing lenses of a microscope, viewing reality in different temporal scales makes certain features of reality manifested, others veiled. These are, in particular, features of life. If we observe an object in an inappropriate interval, we may not notice the very essence of a process it is undergoing. (shrink)

If I see, hear, or touch a sparrow, the sparrow seems real to me. Unlike Bigfoot or Santa Claus, it seems to exist; I will therefore judge that it does indeed exist. The “sense of existence” refers to the kind of awareness that typically grounds such ordinary judgments of existence or “reality.” The sense of existence has been invoked by Humeans, Kantians, Ideologists, and the phenomenological tradition to make substantial philosophical claims. However, it is extremely controversial; its very existence has (...) been called into question. This paper aims to clarify the nature and reality of the sense of existence by studying a psychiatric condition in which the sense appears to be disrupted: depersonalization disorder (DPD). (shrink)

The psychedelic renaissance did not emerge from a void. While a tremendous upswell of interest in psychedelics can be observed today, there is scant acknowledgment of the current spiritual crisis that has led to this burgeoning enthusiasm. Having lost our sense of the sacred, we have—with disastrous consequences—become alienated from ourselves, others, and the natural environment. Secular psychotherapy and psychiatry have failed to address the myriad mental health problems that are prevalent right now, which has compelled people to desperately look (...) for alternatives to fill the void in their lives. Sacred medicines have been used for millennia in humanity’s traditional cultures as part of their spiritual practices. Now that psychedelic-assisted psychotherapy (PAT) is being developed, we must avoid repeating the mistakes of modern psychology, which misguidedly seeks to situate entheogenic therapy on a desacralized foundation of materialism, reductionism, and scientism. Nevertheless, although the full benefit of entheogens can likely be gained only in the context of a sacred tradition, they may still have some measure of therapeutic value even when used in conjunction with secular psychotherapy. This article examines the metaphysical foundations of sacred psychology and argues that entheogenic therapy needs to be grounded on the same basis. The framework employed here is a “transpersonal” perspective that applies the insights found in the world’s great wisdom traditions. It will be argued that the adoption of psychedelics in mental health treatment presupposes a fully integrated psychotherapy that is possible only when it is rooted in a spiritually informed ontology. (shrink)

The Politics of Orientation provides the first substantial exploration of a surprising theoretical kinship and its rich political implications, between Gilles Deleuze's philosophy and the sociological systems theory of Niklas Luhmann. Through their shared theories of sense, Hannah Richter draws out how the works of Luhmann and Deleuze complement each other in creating worlds where chaos is the norm and order the unlikely and yet remarkably stable exception. From the encounter between Deleuze and Luhmann, Richter develops a novel take on (...) postfoundational ontology where subjects and societies unfold in self-productive relations of sense against a background of complexity. The Politics of Orientation breaks and rebuilds theoretical alliances by reading core concepts and thinkers of Continental Philosophy, from Leibniz to Whitehead and Marx, through this encounter. Most importantly, the book puts Luhmann and Deleuze to work to offer urgently needed insight into the rise of post-truth populism. In our complex democratic societies, Richter argues, orientation against complexity has become the ground of political power, privileging the simplistic narratives of the populist right. (shrink)

Drawing on Gilles Deleuze this chapter investigates the virtual as what problematizes the possible by inserting contingency in the process of emergence of the new. The tension between the virtual as what is uniquely placed to engender true innovation, and its aleatory and unforeseeable nature mirrors the tension existing in design between form-making and the need to acknowledge contingency. In embracing the un-designability of the virtual, design is called to take contingency and material variability as forces impinging on the process (...) of emergence of the new. The chapter puts forward a new model for design research that shifts from problem-solving to problem-finding and is predicated on the undesigned at the core of design itself. This points to a further shift: the role of designer from creator to facilitator, teasing form out of the formless, engaged with the manifold forces expressed through material variation. (shrink)

As people age their actions often become entrenched—we might say they are not open to the new; they are less able to adapt; they are stuck in a rut. Indeed, in The Coming of Age (La Vieillesse) Simone de Beauvoir writes that to be old is to be condemned neither to freedom nor to meaning, but rather to boredom (Beauvoir 1996, 461; 486). While in many ways a very pessimistic account of ageing, the text does provide promising moments where her (...) descriptions do capture other possibilities for aged existence. In particular, I turn to Beauvoir’s suggestion that habit can take on a “kind of poetry” since it merges past, present and future in a sense of eternity that the present moment now lacks with its limited futural horizon (468; 492). In this paper, I draw out, delineate, and further explore this phenomenological reconfiguration of the present that she gestures towards through a consideration of the intensification and modification of the present through habit. Drawing as well upon Merleau-Ponty’s insights into the phenomenal body, I argue that poetical habit is an active passivity that allows for the spontaneity of the new out of the sedimentation of corporeal memory, and for the attentive perception of what appears in the present. To disrupt someone’s habitual life is to unanchor that life from the world, from an identity shaped by repetition, by the constancy of a shared reality of things, that is, from the spatial-temporal process of inhabitation, and thus from her ability to engage with others and to disclose the world. (shrink)

One particularly vibrant area of debate, in recent times, concerning potential cognitive differences between humans and other animals (and also one wth a veritable history) is centred on the claim that non-human animals are, in some sense, 'stuck in time', whereas humans are able to cognitively transcend the present moment in time by turning their minds back to particular past events. This chapter seeks to clarify what is at issue in these debates.

If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)

Nel nostro universo, qualunque cosa, dalla più piccola particella alla più smisurata galassia, esiste in un qualche tempo e in un qualche luogo. Ma cosa significa esistere in un qualche tempo? Il fenomeno dell’esistenza temporale gioca un ruolo fondamentale nella comprensione dell’universo e di noi stessi quali creature temporali. Eppure è un fenomeno profondamente misterioso. L’esistenza temporale è da intendersi come una relazione? Che legami ha con l’esistenza dell’ontologia? L’esistenza temporale e la localizzazione spaziale sono due fenomeni essenzialmente differenti o (...) due istanze di un’unica relazione? Tutto ciò che esiste nel tempo esiste nel tempo nello stesso modo? Tutto ciò che è nel tempo è anche nello spazio? (shrink)

A central claim of Deleuze's reading of Bergson is that Bergson's distinction between space as an extensive multiplicity and duration as an intensive multiplicity is inspired by the distinction between discrete and continuous manifolds found in Bernhard Riemann's 1854 thesis on the foundations of geometry. Yet there is no evidence from Bergson that Riemann influences his division, and the distinction between the discrete and continuous is hardly a Riemannian invention. Claiming Riemann's influence, however, allows Deleuze to argue that quantity, in (...) the form of ‘virtual number’, still pertains to continuous multiplicities. This not only supports Deleuze's attempt to redeem Bergson's argument against Einstein in Duration and Simultaneity, but also allows Deleuze to position Bergson against Hegelian dialectics. The use of Riemann is thereby an important element of the incorporation of Bergson into Deleuze's larger early project of developing an anti-Hegelian philosophy of difference. This article first reviews the role of discrete and continuous multiplicities or manifolds in Riemann's Habilitationsschrift, and how Riemann uses them to establish the foundations of an intrinsic geometry. It then outlines how Deleuze reinterprets Riemann's thesis to make it a credible resource for Deleuze's Bergsonism. Finally, it explores the limits of this move, and how Deleuze's later move away from Bergson turns on the rejection of an assumption of Riemann's thesis, that of ‘flatness in smallest parts’, which Deleuze challenges with the idea, taken from Riemann's contemporary, Richard Dedekind, of the irrational cut. (shrink)

The aim of this paper is to outline Dorothy Emmet’s (1904-2000) account of perception in The Nature of Metaphysical Thinking (published in 1945). Emmet’s account of perception is part of a wider attempt to rehabilitate metaphysics in the face of logical positivism and verificationism (of the kind espoused most famously by A. J. Ayer). It is thus part of an attempt to stem the tide of anti-metaphysical thought that had become widespread in British philosophy by the middle of the twentieth (...) century. In pursuit of that aim, Emmet draws on the work of figures like A. N. Whitehead and Henri Bergson, rather than more mainstream analytic thinkers like Bertrand Russell or G. E. Moore, for inspiration. Indeed, Emmet’s ideas stand in contrast to the prevailing tides of British philosophy during her lifetime. This makes Emmet a figure of considerable historical interest; she does not fit neatly into the traditional narrative of the continental-analytic divide, proposed a way forward for metaphysics in one of its greatest times of crisis, and pre-empted certain movements in more contemporary philosophy of perception. By espousing her unique account of perception and drawing out its connections to her wider philosophy, I hope to put Emmet ‘on the map’, so to speak, of twentieth century British thought. (shrink)

This article examines the issues that are at stake in the current resurgence of interest in the subject of habit. We focus on the role that habit has played in conceptions of the relations between body and society, and the respects in which such conceptions have been implicated in processes of governance. We argue that habit has typically constituted a point of leverage for regulatory practices that seek to effect some realignment of the relations between different components of personhood – (...) will, character, memory and instinct, for example – in order to bring about a specific end. In reviewing its functioning in this regard across a range of modern disciplines – philosophy, psychology, sociology – we explore the tensions between its use and interpretation in different lineages: in particular, the Cartesian–Kantian/ravaisson–bergson–deleuze lineages. The article then identifies how these questions are addressed across the contributions collected in this special issue. (shrink)

What is?Curriculum Theory articulates the problematic of difference, diversity, and multiplicity in contemporary curriculum thought. More specifically, this essay argues that the conceptualization of difference that dominates the contemporary curriculum landscape is inadequate to either the task of ontological experimentation or the creation of non-representational ways for thinking a life. Despite the ostensible radicality ascribed to the curricular ideas of difference and multiplicity, What is?Curriculum Theory argues that these ideas remain wed to an structural or identitarian logic that derives difference (...) from the a priori conditions of the possible. Further, this essay argues that the orthodox conceptualization of difference in contemporary curriculum studies is complicit with the capitalist commitment to quantitative multiplicity, or rather, the proliferation of ‘multiple consumer choices’. Following this problematic, the task of this paper is oriented to the conceptualization of difference adequate to the creation of a people yet-to-come, or rather, a people for which no prior image exists. To accomplish this, What is?Curriculum Theory draws upon Deleuze’s Bergsonism in order to advance a conceptualization of difference that breaks from modes of dialectical negation and contradiction particular to the tyranny of representational thinking. Articulating an image of difference that no longer accords to the possible, this essay composes a thought experiment conceptualizing a pedagogical life in a manner that explicates the transversal relationship between the actual and the virtual. (shrink)

Bergson’s critique of intensive magnitude in Time and Free Will mainly targets Kant’s “Anticipations of Perception”, in which the Kantian distinction between matter and form is lowered. Bergson pra...

Richard Koch1 became known in the 1920s with works on basic medical theory. Among these publications, the character of medical action and its status within the theory of science was presented as the most important theme. While science is inherently driven by the pursuit of knowledge for its own sake, medicine pursues the practical purpose of helping the sick. Therefore, medicine must be seen as an active relationship between a helping and a suffering person. While elucidating this relationship, Koch discusses (...) the fundamental elements of medicine found in natural philosophy and the relationship of medicine to its own history. One of his aims is to unite natural history and the history of ideas without reducing intellectual processes to biological ones. Koch considers free will as something intuitively certain. It must serve as an axiom which will capture human as well as non-human reality. Based on the fact that human free will, considered a psychic quality, evolved out of inanimate matter, Koch grants matter (proto-) psychic qualities. They are evoked through specific constellations of matter. – With regard to history, Koch rejects the notion of constant progress. The history of medicine has provided insights that cannot be surpassed but can be obscured. Historical self-contemplation serves as a means for avoiding any deviations which may prevent medicine from fulfiling its ultimate purpose. Koch connects nature and history through the concept of a unity between natural history and the historical development of medicine. Medicine is considered an especially complex development of a purposive reaction to harmful stimuli, a reaction which can already be encountered in unicellular organisms. Without intending to reduce historical and mental processes to biological ones, Koch sets for himself the aim of gathering different phenomena and presenting them in one encapsulating unity. (shrink)

The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as (...) a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museum-specific modes of engaging questions—across science, culture, and society—particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations. (shrink)

This paper deals with the question of historical facticity in the phenomenological tradition. I argue that taking historicity into consideration in its factical constitution means transgressing the realm of the primordial or existential temporality. Following Ricoeur’s discussion of the idea of the “referential status of the past,” the question of the material foundation of historical meaning-formation, i.e., relation between temporality and materiality will be brought into the forefront of phenomenological investigations. It is with this context in mind that I argue (...) that exploring the conditions of historicity with regard to its factical and material determinations should assume a realist position in phenomenology. (shrink)

What is the concept of sense developed by Deleuze in his 1969 Logic of Sense? This paper attempts to answer this question analysing the three dimensions of language that Deleuze isolates: the primary order of noises and intensities ; the secondary order of sense ; and the tertiary organisation of propositions. What renders language possible is that which separates sounds from bodies and organises them into propositions, freeing them for the expressive function. Deleuze argues that it is the dimension of (...) sense that brings about this genesis of language, and he analyses in detail the three syntheses that bring about the production of this surface of sense. Yet Deleuze also distinguishes between two types of non-sense: the nonsense of Lewis Carroll's portmanteau words, which remain ensconced in the dimension of sense, and the more profound nonsense of Antonin Artaud's psychotic scream-breaths, which penetrate the almost unbearable world of the primary order of noise and intensities. In the end, the focus of Logic of Sense is less the surface domain of sense than the primary depth of corporeal intensities. What Deleuze calls a ‘minor’ use of language is nothing other than an intensive use of language that constitutes a principle of metamorphosis. (shrink)

This article examines the experiences of pilgrims walking to the shrine of St James in Santiago de Compostela, Spain. It argues that walking is a social practice operating at the nexus between body and self. Pilgrims do not generally regard walking as a spiritual practice at the journey's outset. They do, however, develop a deep awareness of the multiple effects of walking as they progress along the route. Pilgrims report a variety of techniques in relation to their walking including using (...) rhythm, `being' in the moment and narrating. Various social borders also establish a space for self-reflection that is both individualistic as well as marked by wider social meanings. Walking is thus simultaneously a bodily, social and spiritual practice. (shrink)

For some two millennia, Western civilization has predominantly viewed mind and consciousness as the private domain of the human species. Some have been willing to extend these qualities to certain animals. And there has been a small but very significant minority of philosophers who have argued that the processes of mind are universal in extent, and resident in all material things.

Following Deleuze’s analysis of expressivity, this article approaches the two opening aphorisms of the Dao De Jing 道德經 as two movements of a triadic differentiation of expressive elements. These aphorisms are further presented within four Deleuzean paradoxes which necessarily accompany linguistic expression. Simultaneously, the opening lines are also analyzed as philosophical problems which constitute the core of the Daoist project itself within which the unthinkable or ineffable must be conceived of not as conditioned by privation or negation, but as being (...) located within the movement of differentiation which is by nature positive and creative. As the paper shows, the linguistic involvement here is not one of discrimination but of a fundamentally dynamic immersion in problematic thought which underlies the mechanism of sense-making. This dynamism is presupposed by the disequilibrium between what expresses itself and its expressions, which is the birthplace of sense as the expressed. Our analysis of the latter is unfolded through an analogy drawn between Daoist and Spinozian expressionism supported by Deleuze’s study on Spinoza. (shrink)