Richard Rorty, in his ‘Consequences of Pragmatism’ (1982), acknowledging the pragmatic direction taken by both modern and postmodern philosophy, declared that ‘James and Dewey were not only waiting at the end of the dialectical road which analytic philosophy traveled, but are waiting at the end of the road which, for example, Foucault and Deleuze are currently traveling’ (Rorty, 1982, p. xviii). This paper does not aim to establish who traveled the farthest along the road posited by Rorty. Instead, its purpose (...) is to trace a common direction as a sort of pragmatic trajectory that will map a territory constituting Gilles Deleuze’s new image of thought, or rather as he put it, a thought without image. By addressing some of Deleuze’s ideas on thinking and learning, especially with regard to the problematics of sources of knowledge, this paper posits the convergence between his philosophical position and Dewey’s philosophy of education despite the two being seemingly separated by time, place and culture. The paper further shifts the focus from the factual knowledge to an experimental and experiential process of knowing and asserts the latter’s far-reaching implications for education as a developing and generative practice. (shrink)

This paper reviews Deleuze’s theory of language in Logic of Sense, and Deleuze and Guattari’s theory of language in A Thousand Plateaus. In the ontology informed by the Stoics described in those books, human being and language do not exist separately but in a mixture of words and things. The author argues that this flattened ontology of surfaces is incommensurable with the ontology of depth used in conventional humanist qualitative methodology and recommends beginning new empirical inquiry with a concept instead (...) of with method and methodology. (shrink)

The essay investigates desire in Shakespeare’s Richard III as connected to Deleuze and Guattari’s line of flight and war machine.

This paper critically examines the materialism that Gilles Deleuze espouses in his oeuvre to the benefit of educational theory. In Difference and Repetition, he presented transcendental empiricism by underwriting Kant with realism (Deleuze, 1994). Later, in Capitalism & Schizophrenia I & II that were co-written with Félix Guattari (1984, 1988) and that they named Anti-Oedipus and A Thousand Plateaus, Deleuze's philosophical approach is realigned into what I term here as transcendental materialism, and latterly as immanent materialism; that I claim effectively (...) eliminate phenomenology as perceptual input. This essay takes this transformation seriously as a way of understanding educational data, research and practices. The proposition that is central to this paper is that transcendental and immanent materialism give us a means of dealing with educational phenomena without the interference of perception or a stable category of experience, by connecting data with theory and circumventing subjectification. It is argued that this proposition has important consequences for educational research, and the construction of educational arguments that will be illustrated in this essay. Deleuze's debt to French Marxism and in particular to the work of Louis Althusser are also recognised through this writing. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

One of the issues with which bioethics is concerned is defining the limits of the organism’s transformations by technology in order for humanity to avoid evil. Kant’s teleological power of judgment enables us to identify an organism and it allows nature to be transformed only insofar as it affirms a moral subject acting on the basis of autonomy as reason. I propose a new way of utilizing Kantian philosophy in bioethical knowledge. I ask: can we make judgments about nature via (...) the principle of purposiveness? In answering this question, I clarify the following points. The first is Kant’s research into the foundations and reasons for using the teleological power of judgment. The second is the role of digital technology and how it complicates the use of the teleological power of judgment within the framework of bioethical knowledge. And the third is the preservation of the foundations for using the teleological power of judgment. (shrink)

Deleuze’s philosophical method is analyzed and positioned against the background of the intellectual/religious tradition of practical mysticism that has been traveling the globe across times, places, languages, and cultural barriers. The paper argues that Deleuze’s unorthodox ontology of the virtual enables a naturalistic interpretation of the functioning of mysticism when the triad of concepts, percepts and affects is formed in accordance with the logic of the included middle.

How we read Kant's Critique of Pure Reason has a huge influence on how convincing we find the parts of which it is composed. This thesis will argue that by taking its arguments and concepts in isolation we neglect the unifying architectonic method that Kant employed. Understanding this text as a response to a single problem, that of the possibility of synthetic a priori judgement, will allow us to evaluate it more fully. We will explore Kant's attempts to relate the (...) a priori and the synthetic in the Introduction, Metaphysical Deduction and Analytic of Principles of the Critique of Pure Reason. Having developed this reading at length we will be able to reassess Kant's relation to the work of Gilles Deleuze. Deleuze's critique of Kant and his tendency to make selective use of his work has so far characterised their relations. However, by reading Kant's Critique of Pure Reason in terms of its unifying method we will open up a new means of relating these two thinkers. Whilst Deleuze rejects many key Kantian concerns and concepts he embraces his methodological concern with the ability of problems to unify our thought. The problem-setting and forms of argument that emerge within Kant's architectonic method will be related to Deleuze's account of experience. This thesis will contribute to both Kant and Deleuze studies on the basis of the reading of the Critique of Pure Reason it will present. By showing how Kant's text is to be read as a whole we will be able to challenge the conclusion that the arguments he makes ultimately rely upon a notion of 'subjective origin'. The problem of accounting for 'the actual' through its relation to 'the virtual' in Deleuze's thought will be re-assessed on the basis of his newly established relation with Kant. Understanding Kant's method in the Critique of Pure Reason will be shown to strengthen both his own account of experience and that offered by Deleuze. (shrink)

The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...) implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)