In this paper we offer a preliminary study of the various ways in which ‘ruin’ has significance for organization studies. One important motif associated with both modern and romantic treatments of ruins concerns the revelatory impressions they make. In this respect the tradition of ruin writing will talk of their ‘beauty’, their ‘strangeness’ or their capacity to ‘intimidate’, which somehow never fails to strike a responsive nerve in us. In order to attend to this elusive phenomenon we must necessarily breach (...) some of the self-imposed boundaries of our ‘discipline’. Taking up this challenge we follow W. G. Sebald in his use of contiguity as both method and textual structuring device, allowing us to drift across iconic ruin images, ruin theories and our own ruinous research experiences. This helps us learn how to ‘dwell’ in the ruin – without any impatient reaching after fact or explaining away ruins in the terms of an established tradition of theorizing in organization – and open up new analytic spaces and associations for organizational researchers. These concern specifically a distinctive approach to time, history and memory; an increased awareness of the multiplicity of forces impinging on organization, forces from which we so easily retreat behind the cordon sanitaire of organization-studies-as-usual; and a cognisance of how the very way we write is a mode of doing organization that is crucial for our ability and willingness to look into ‘all corners of reality’ so that we might better grasp organizational phenomena. (shrink)

The concepts of territory and ritornello cannot be separated from one another, despite the fact that scholarship tends to restrict the former to discussions of politics and the latter to discussions of art. Deleuze and Guattari deploy the combination of territory and ritornello, along with associated notions such as rhythm, milieu, counterpoint and force, as a method to describe and understand the formation, existence and relations of living beings. They understand ‘life’ to also include a variety of nonorganic entities, such (...) as social formations. Territory and ritornello provide a philosophical alternative to understanding the existence of beings in terms of an immutable, unchanging transcendent structure, such as divine revelation, politico-economic ideology or cultural identity. As such, this conceptual pair is a necessary element in translating Deleuze and Guattari's metaphysical commitment to immanence and univocity into ethical and political theory and practice. (shrink)

Shuzo Kuki is a Japanese philosopher, belonging to the Kyoto school, who lived about a hundred years ago. He learned philosophy in Europe and developed an original theory of contingency, by accommodating the Asiatic way of thinking on the one hand, and Western philosophy on the other. In this article, I show that we can find similarities between his theory of contingency and the philosophy of Deleuze, especially in regard to the subject of temporality and eternal return. Needless to say, (...) the theory of the third time is a crucial theme in Difference and Repetition, and is closely related to the time of eternity, and the original or primitive contingency. Taking into consideration these aspects of time is indispensable in examining in depth the concepts of difference and virtuality. Kuki's theory of contingency, which incorporates early twentieth-century European philosophy, elucidates these concepts in an unexpected way. Therefore, my aim in this article is not to attempt a comparison between Eastern and Western thought by quoting Deleuze, but to illustrate a hidden lineage of thought, which runs from the nineteenth century into the philosophy of virtuality of the twentieth century. This same lineage appears in Japan in Kuki's theory, and Deleuze's thought is, at least in one aspect, a modern manifestation of the same roots. (shrink)

This thesis presents an examination of the giallo films of Dario Argento from his directorial debut The Bird with the Crystal Plumage to The Stendhal Syndrome'. In opposition to the dominant psychoanalytical approaches to the horror film generally and Argento's giallo specifically, this thesis argues that the giallo, both textually and meta-textually, actively resists oedipalisation. Taking up from Deleuze's contention in Cinema 1: The Movement Image that the cinematic-image can be consider the equivalent to a philosophical concept, I suggest that (...) Argento's giallo are examples of what Deleuze calls cinema of the "time-image": provoked and extended "philosophical" acts of imagining the world which opens up a theoretical space of thinking differently about questions of gender and genre in horror film, which takes us beyond the fixed images of thought offered by traditional psychoanalytical and feminist paradigms of horror. In the opening chapters of this thesis, I argue that the cinematic-image has to be thought "historically", and that it is only be understanding the emergence of the "giallo" in the 1960s within the wider picture of Italian national cinema, that we can understand Argento's films as specific cultural expressions of thought, which are not reducible to paradigms based upon analyses of the more puritan and fixed American horror film. In my subsequent discussion of Argento's "Diva" trilogy, I consider an assemblage of Deleuzian becoming and poststructuralist feminist thought as a mechanism through which to explore the increasingly feminised and feminist spaces of his later work. This thesis concludes by assessing Argento's critical and creative legacy in films such as Toshiharu Ikeda's Evil Dead Trap and Cindy Sherman's Office Killer. In these terms, a Deleuzian "approach", enables a set of readings, which open up the texts to a more productive consideration of their appeal, in a way which other more traditional approaches do not, and cannot, account for. The close textual and historical analysis demanded by Deleuze is both a reconsideration of the [feminist] politics of Argento's work, and a response to criticisms of misogynism. (shrink)

Joshua Braun's (2007) analysis of narrative conventions in the media brings a much-needed gaze to a neglected area of scholarship in bioethics. Bioethicists often invoke public debate of contentiou...

In this article, I undertake a close reading of Isabel Rocamora's 2015 film installation Faith, which shows, on three separate screens, Jewish, Christian, and Muslim men simultaneously performing their morning prayers in three distinct, historically significant sites in the Judean desert. Setting the cinematic and installation properties of the work into dialogue with a number of philosophers (Levinas, Derrida, Cavell), film theorists (Bazin, Deleuze, Chion), and art theorists (Fried, Elkins), I argue that it adopts a postsecular approach to religious pluralism. (...) That is, without being a religious artwork, Faith nevertheless deconstructs the conventional liberal secular approach of universalist neutrality towards inter-religious relations and instead configures the relations between the human figures in the work according to an alterity that requires not cognitive certainty but inter-human faith. The work is thereby consistent with Derrida's notion that tout autre est tout autre (every other is wholly other). (shrink)

Harun Farocki's films make use of a category of images the director calls “operational”, a term describing images, either photographic or computer-generated, that perform or participate in tasks, usually in military or industrial settings. Treatments of Farocki's films have frequently used the notion of the operational image uncritically, and without comparing Farocki's definition of these images with existing semiotic categories. This article seeks to situate Farocki's operational imagery within a theory of visual communication, and to explore the implications of automated (...) and instrumental imagery for theories of communication in general. Abandoning the focus in much Farocki scholarship on the representative properties of operational imagery, this article focuses on the world-shaping abilities of images that are integral to war and labour. Drawing primarily on Farocki's Eye / Machine I–III series ( Auge / Maschine, 2000–2003) the article then elaborates on the ways in which the world-shaping capacity of operational images conditions human perception and action. In particular, the limitations imposed by operational images upon human actors who interact with them, or live in environments orchestrated by them, reduce the essential role played by indeterminacy and interpretation in communication. (shrink)

The digital surface in cinema has, throughout its relatively brief history, been subject to a familiar “iconophobic” tendency, documented by Rosalind Galt, to denigrate surface decoration as “empty spectacle”. In early scholarship on computer generated images in cinema, the digital surface's alleged seamlessness and “new depthlessness” frequently became an overdetermined nexus of loss: of material presence, of an indexical relation to the world and lived experience, and of the continuation of older traditions of narrative cinema. Today, digital visual effects sequences (...) in mainstream cinema continue to be framed by film reviewers in negative terms: as variously lacking imagination, realism, narrative depth, and affective power. Digital visual effects and digital media scholarship have done much to reclaim the cultural significance of mainstream digital visual effects sequences and their capacity to speak to a rapidly evolving and increasingly encompassing digital media ecology. Yet the f... (shrink)

Media are surely central to Western societies of the past several centuries and to the emerging global societies of the contemporary era and the future. There is a thickening, an intensification and an increasing complexity to the use of information machines, technologies that are necessary in the production, reproduction, storing and distribution of texts, images and sounds, the constituent elements of culture. The phenomenon has been termed a “media ecology,” adding a new layer to the ecologies of animal, vegetable and (...) mineral. It behooves anyone engaged in critical discourse to take serious account of media. I argue they offer a key to understanding the process of globalization in relation to a new configuration of interaction between humans and machines. (shrink)

Deleuze and Whitehead are both centrally concerned with the problem of how to reconcile the emergence of the New with the evident continuity and uniformity of the world through time. They resolve this problem through the logic of what Deleuze calls ‘double causality’, and Whitehead the difference between efficient and final causes. For both thinkers, linear cause-and-effect coexists with a vital capacity for desire and decision, guaranteeing that the future is not just a function of the past. The role of (...) desire and decision can be seen in recent developments in biology. (shrink)

The paper discusses Deleuze's concept of the feminine through exploration of the questions of eating, cooking, and specifically anorexia, as well as an ‘anorexic relation’ to fashion and dressing. It argues that anorexia should be understood as a micro-political experimentation in fashioning one's own body on its flight to becoming woman. In accordance with Deleuze's ontology of the surface, the anorexic body can be seen as the invention of the BWO that forms an assemblage with clothes and, in so becoming (...) different, invents for itself different desires. (shrink)

One of the most important aspects of Gilles Deleuzes philosophy is his criticism of the traditional concept of praxis. In Aristotelian philosophy praxis is properly oriented towards some end, and in the case of human action the ends of praxis are oriented towards the agents good life. Human goods are, for both Aristotle and contemporary neo-Aristotelians, determined by the potentials of human life such as rationality, communality, and speech. Deleuzes account of action, by contrast, liberates movement from an external end. (...) In his books on cinema Deleuze argues that we need to think of events in terms of their power, and not as movements within an already determined image of life. In order to think events as such we need to confront the power of the virtual. This is achieved by a philosophy of life in which becoming is not a means towards the realisation of some end. Rather, becomings are best seen as counter-actualisations: ways in which the already-constituted actual world always bears a power to become other than it already is. If we consider dance in this new context, then dance is neither expressive of an already existing life, nor a pure act that is self-sufficient and self-constituting. Rather, dance is a confrontation with life as a plane of open and divergent becomings. (shrink)

This article examines the pedagogic vision of audiovisual archives in Ici et ailleurs ( Here and Elsewhere, 1974/1978) (shot by Sonimage and drawn from the abandoned project Jusqu’à la Victoire [1970]) in terms of the stratification of images and sounds. Drawing on Gilles Deleuze and Michel Foucault, Tom Conley writes that a diagram that depends upon the division between the visible and the enunciable may be comprehended in terms of a map and as a line of forces. Such strata can (...) act as signposts for diverse and multilateral readings of film, as viewers “read” cinematic landscapes and time-images. In Ici et ailleurs, stratigraphic shots juxtapose the Western, static home life of a family in France with the nomadic life of Fedayeen troops in Jordan and Palestine. This article argues that Sonimage’s narrative specificity relies upon an “in-between” method that defines an inter-space between semantic orders. (shrink)

Why does Deleuze rely so heavily on Spinoza and Leibniz? At first glance, his critique of representation and the traditional ‘image of thought’ seems to oppose him to rationalism. However, Deleuze says that when the ‘cry of rationalism’ is pursued until the end, rationalism becomes ‘delirious’. In such a state, it undermines the model of representation. This delirium is found in Spinoza and Leibniz's critique of generality and their conflation of essence and existence, through which they ruin the traditional mediation (...) of difference by identity and generality. However, for this rationalism to completely break with representationalism it must undergo some Deleuzian corrections. (shrink)

Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers (...) to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a “third synthesis” of time, and that which J. M. E. McTaggart named the a-temporal “C series” of “unreal” time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have... (shrink)

In Cinema 2 Deleuze conceptualises the time-image as a cinema of infinite variation, opening the stable forms of the movement-image to an unformed and virtual outside. Five years later he would develop a similar analysis in the short ‘Postscript on the Societies of Control’, arguing that a new system of organisation was expanding the disciplinary formations that had reached their peak in the first part of the twentieth century. In both works Deleuze explores a world in the process of systemic (...) deterritorialisation that has profound implications for the way that society is organised and in which the world is thought. This essay argues that the ungrounding discussed in both of these later works should be understood as part of a similar shift in the ordering of the world, where a new regime of thought has emerged. The relationship between these two concepts in Deleuze's thought has important implications with respect to our understanding of his work on cinema. I argue that this connection reveals the political dimensions of Deleuze's focus on the intolerable in the cinema books. An impoverished life, through lack of access to capital, protection and education, offers less access to life-chances and potential social transformations. I focus on cinematic depictions of poverty and powerlessness in two films by Béla Tarr to account for the significance of poverty in Deleuze's overlapping thought on cinematic creation and media control. (shrink)

The relationship between silence as non-speech and bilingualism in early childhood education is intricate. This article maps this relationship with the help of diverse theoretical entrances to a video-recorded everyday episode from a bilingual preschool in Sweden. Though this, three alternative readings of silence are produced. Thinking with Deleuzian philosophy, the aim is to consider how the different readings of silence require different understandings of both time and language and allow different bilingual child subjectivities. The different readings present silence as (...) development, strategy and intensity. Thinking with different dimensions of language as well as Chronos and Aion as different notions of time, the article shows that silence as development and silence as strategy are individually, chronologically and linguistically oriented readings. These allow viewing the bilingual child as more or less competent, active and powerful in relation to adults. Furthermore, silence as intensity is collectively produced as well as temporally unbounded, and produces the bilingual child, as involved in several material–semiotic relations capable of amazement. It is discussed whether, due to the evasive and inconsistent nature of silence, all three readings are equally possible. Nevertheless, they produce different effects and raise different questions concerning bilingual educational practice in the early years. (shrink)

Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and (...) affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’. (shrink)

Film critics and theorists often refer to the ‘worlds’ that films create, present, or embody,e.g. the world of Eraserhead or the world in Fanny and Alexander. Like the world of a novel or painting, the world of a film in thisprevalent use of the term denotes its represented content or setting, or whatever formaland thematic aspects distinguish it from other films in a pronounced and oftenimmediately recognisable way. Yet there is much more to be said in philosophical termsabout films as, (...) or as containing, worlds. This paper will argue that pursuing this subjectentails a needed re-evaluation of multi-faceted issues that are of concern to bothcontemporary film theorists and philosophers of film, including the relation betweencinematic representation and expression, reflexivity, the nature of film style andauthorship, and cinema’s relation to, and direct interaction with, other art forms. (shrink)

As symbols of adaptability and transformation, together with qualities of vigilance and intelligence, we argue the relevance of dragons for spatial planning in China. We develop a metaphorical concept – the green dragon – for grasping the condition of contemporary Chinese societies and for facilitating the development of theories and practices of spatial planning which are able to face the challenges of rapid change. We ask Chinese scholars and spatial planners to liberate Deleuzian potential for strategic spatial planning in a (...) ‘becoming-between, coming-together’ of concepts which can effectively make a difference in the world. Having outlined what we regard as key transversals or diagonals between our reading of Gilles Deleuze and aspects of Chinese philosophy, we then offer the metaphor of strategic spatial planning as Chinese literati landscape painting. This is a form of painting which rejects the idea of the world being supremely organised from a particular point of view, preferring to paint immanence and transformation. Chinese literati landscape paintings, like philosophy and strategic spatial planning, ‘look only at the movements’. We conclude that connections between what concepts of Chinese philosophy and those of Gilles Deleuze can do, suggest that in China, a conception of strategic spatial planning as metaphorical green dragon may offer academics and planning practitioners a transverse way to relate the legacies of past philosophies and current thinking. (shrink)

Deleuze's cinema project identifies a crisis of movement, action and thought, established initially in the war-devastated spaces of neo-realist cinema. Indirectly these spaces subordinate architecture as the locus of crisis, which only new, temporal artistic practices can avert. However, an architectural model of the smooth and striated, revealing a sophisticated interplay of the two concepts, can reinstall design practice and the intentional built environment as part of a productive and affirmative image of thought. The designs of James Stirling, whose career (...) unfolds alongside significant developments in post-war spatial thought, reveal sensual expressions of new modes of subjectivity and individuation to accompany the increasingly aleatory and lacunary nature of movement. (shrink)

Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, (...) sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichéés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘‘aesthetics’’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘‘modernism’’, and to the discussion of his possible relevance to contemporary artistic practices. (shrink)

The image of thought that Rembrandt proposes with his Philosopher in Meditation still wears the mask of the old philosophical pedagogy based on ascent and the heights, but it ushers in new percepts and affects corresponding to the philosopher's concept, fold, that Leibniz elevates to the status of the principle of Baroque variation. The fold unleashes a power that carries forms and statements over a variety of disjunctive statements.

The insistence on knowledge accumulation in modern educational discourses has led to the formation of exclusive dichotomies in various forms, most tangibly observable in the division of people into ‘knowledgeable’ and ‘unknowledgeable’. What underlies this dichotomy is a conception of rationality based on which knowledge is seen as an ‘instrument’ which must necessarily result in a usable, profitable product. From a Levinasian perspective, the latter situation inevitably, if not purposefully, leads to the formation of the Other being located at the (...) side of irrationality, hence an unnecessary entity within the knowledge economy. Analysing Werner Herzog’s film, The Enigma of Kasper Hauser’s (1974), this paper aims to show how irrationality, contrary to the belief of dominant educational/pedagogical discourses, can act as a source for creative thinking. The paper argues that by accepting the Other as the unknowable, we allow them to resort to their singularity as a source for imaginative thinking. (shrink)

This article contributes to a theory of the lyric essay film by bringing studies of the essay film and lyricism to bear on Pietro Marcello’s Lost and Beautiful (2015). We argue that the lyric essay film delivers its argument by leveraging the tension between words and images, narrative and counter-narrative components, and the (non)human subjectivities (i.e. the director’s, characters’ and camera’s) its text embodies and enacts. These tensions generate interstitial sites from which the ethics and politics of the lyric essay (...) film emerge. Insofar as the lyric essay film is marked by the intrusion of subjectivity in the genre’s argumentative structure, the polyvocality that this intrusion allows in terms of both critical and affective contribution to the film’s argument is what enables the lyric essay film to undermine ideological homogenisation and the naturalisation of situated subjective positions. Moreover, the felt participation of the subjectivity of the camera in the rendering of reciprocal processes of subjectivation becomes ethically meaningful as it embodies a conception of subjectivity as co-determined by otherness. The ethical significance of this interaction is also relevant to contemporary environmental thought, as it maintains that human subjectivities are co-determined by human and nonhuman others. (shrink)

This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that (...) rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument. (shrink)

This article argues for an understanding of the scream at the nexus of a pre-verbal, imperceptible and inaudible operation. The work of Jean-François Lyotard describes a figure that breaks with figurative, illustrative and narrative forms, and takes up an operative function. In aesthetic terms, this operative figure – the figure of the matrix of desire – is what Lyotard describes as “seeing” rather than “vision”. That is, a child-like look that does not recognise the world by which it might master (...) it, but which desires to surpass limited existence, to lose oneself and to desire everything incompossibly. “Seeing”, in other words, is an opening of the self to the world in the original sense of aisthesis. Such an opening describes a masochistic jouissance inasmuch as this is an eroticism that has no mastery in dialectical terms or in verbal expression. This article will examine the screaming, howling, whooping and wailing of characters in Marco Ferreri's La Grande Bouffe (1973) to understand the appearance of masochistic jouissance in cinema. (shrink)

In 1932 Kolmogorov created a calculus of problems. This calculus became known to Deleuze through a 1945 paper by Paulette Destouches-Février. In it, he ultimately recognised a deepening of mathematical intuitionism. However, from the beginning, he proceeded to show its limits through a return to the Leibnizian project of Calculemus taken in its metaphysical stance. In the carrying out of this project, which is illustrated through a paradigm borrowed from Spinoza, the formal parallelism between problems, Leibnizian themes and Peircean rhemes (...) provides the key idea. By relying on this parallelism and by spreading the dialectic defined by Lautman with its ‘logical drama’ onto a Platonic perspective, we will attempt to obtain Deleuze's full calculus of problems. In investigating how the same Idea may be in mathematics and in philosophy, we will proceed to show how this calculus of problems qualifies not only as a paradigm of the Idea but also as the apex of transdiciplinarity. (shrink)

Linguistic invention is a key feature of Virginia Woolf's novel The Waves. An exploration of its innovative verbal and syntactic procedures can add to an understanding of Woolf's importance for the philosophical thought of Gilles Deleuze (and his sometime collaborator Félix Guattari). In A Thousand Plateaus, The Waves is used to exemplify an ontology of becoming. However, in their reference to The Waves, Deleuze and Guattari only draw attention to what they term the ‘vibrations, shifting borderlines’ between and across characters (...) in the novel. Given Deleuze's considerations of style, it is perhaps surprising that he never took up this idea in terms of how these movements also take place at the level of language in the novel, as the explorations in this essay of four different linguistic procedures from The Waves show. When Woolf completed writing The Waves, she wrote in her diary that she had ‘netted that fin in the waste of water’. By investigating the multiple, and often discordant, associations of this image of netting a fin, various connections between Woolf's linguistic procedures and Deleuze's philosophy can be configured, particularly in terms of the approach to language put forward in A Thousand Plateaus. Reading Woolf alongside Deleuze in this way reveals how ontology becomes intimately bound up with a problem of language. (shrink)

In What Is Philosophy? we find philosophy devised as that power of thinking and creating which, in a division of labour with science and art, creates the concept. This division of labour points to the free interplay of Reason, Understanding and Imagination in Kant's Critique of Judgement and enables us to affirm, without obliterating the differences in kind, the non-hierarchical relationship between the three forms of thought that is asserted by Deleuze and Guattari. However, as powers of thinking and creating, (...) philosophy, science and art do not inscribe themselves in a transcendental subject. Rather, Deleuze and Guattari conceive of them, following Spinoza's ‘creating nature’, as powers that express themselves in an attribute in which every thinking subject participates. (shrink)

Stemming from a general study of rhythm in the work of Gilles Deleuze, we propose a distribution of this concept throughout three levels: a topic level, in which we place rhythm between chaos and measure; a dynamic level, in which we analyse the formation of rhythm towards its stabilisation as a spatio-temporal dynamism; and an unfolding, in which these dynamisms take on the form of rhythmic machines applied in music (refrain), in painting (sensation) and in cinema (montage and time crystals). (...) In this last phase, the rhythmic devices of various arts lead to a genesis of time. We are thus driven to think and elaborate on the link between these two concepts, rhythm and time, in the writings of Deleuze. Bearing this purpose in mind, we turn to the schema of the three syntheses of time in Difference and Repetition. These syntheses show how time emerges from different ways of understanding repetition, in the place of which rhythm will then appear. We will compare this schema with the argument articulated by Deleuze in Logic of Sensation regarding rhythm in its pictorial form. This comparison will enable us to deduce that both concepts follow a parallel path arising from the same series of processes: vibration, coupling, resonance and forced movement. We will conclude that the schema proposed in Difference and Repetition and its aesthetic purpose delineate the ways in which rhythms unfold creatively. These three syntheses of rhythm are implicated in artistic processes. (shrink)

This article interprets David Lynch's Mulholland Drive (2001) to argue for the morphological influence cinematic images have on modernity's monstrous identity. It shows how Lynch's tactic of interweaving apparently discrete spaces of dream and reality – one often inverting or uncannily ironising the other – relies on the virtual space of cinema, which leaves a mark on understanding, irrespective of its apparent truth. To do so, I employ Peter Sloterdijk's philosophy of space – especially the spherology developed in his Spheres (...) trilogy – and Bernard Stiegler's approach to cinematic phenomenology to consider the transferential force of cinema, and its power to cultivate and shape popular consciousness. Mulholland Drive is acutely aware of this force, and its interplay with the expectations and disappointments of Hollywood monstrosity inserts itself into the sphere-forming traffic of modern meaning-making. In doing so, I argue, the film takes up Lynch's familiar approach to irony and the weird to unwind the destructive uniformity of Hollywood hegemony. The productive bifurcations that result, inscribed in between cinema and consciousness, and forgettable as the very spheric intimacy of memory, gesture to what might live beyond discrete forms. (shrink)

Speculative realists have directed a radical critique towards what they call “correlationism,” the stance according to which we only have access to the correlation between thinking and being, and never to either term considered apart from the other. Both Quentin Meillassoux and Ray Brassier have used Gilles Deleuze’s ontology as a paradigmatic example of correlationism. Instead of defending Deleuze from this accusation, I argue that we need to accept it, but that the correlation is drastically transformed when we take into (...) account Deleuze’s panpsychism. I hence contend that Deleuze is a panpsychist, grounding my argument in (a) his theory of contemplations and (b) his account of the universe as a cinema in itself. This changes everything, since a panpsychist type of correlationism avoids the main problem that leads both Meillassoux and Brassier to try to overcome correlationism, namely, that of the possibility of existence before and after humans. (shrink)

This article draws upon work by Gilles Deleuze, Sanford Meisner, and William Connolly to argue that the practice of acting helps citizens to encounter unsettling circumstances in daily life; respond to and connect with others in more open, interactive ways; and expand the relatively stable repertoire of selves each person cultivates through life. Considering scenes from the films of Anna Magnani, Ronald Reagan, and Joan Crawford, I argue that acting spaces can be sites where an exploration and decentring of subjectivity (...) can proceed and new modes of democratic interaction and togetherness can be enacted. (shrink)

The raison d’être of the humanities is widely held to reside in its unique ability to generate critical thinking and critical thinkers. But what is “critical thinking?” Is it a generalized mode of...

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)

This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the mythic image and (...) total cinema in classic film theory and visual studies. More importantly I show how the desire to create new mythic images not only influenced Herzog's discourse on film, but his actual aesthetic practice. In my analysis of his 1971 documentary Land of Silence and Darkness I show how the dynamic between Apollonian veil and Dionysian Urbild is effective in the construction of what Herzog calls “deep truth”. This article attempts to shift t... (shrink)

In Bergsonism, Deleuze refers to Bergson's concept of an ‘open society’, which would be a ‘society of creators’ who gain access to the ‘open creative totality’ through acting and creating. Deleuze and Guattari's political philosophy is oriented toward the goal of such an open society. This would be a democracy, but not in the sense of the rule of the actually existing people, but the rule of ‘the people to come,’ for in the actually existing situation, such a people is (...) ‘lacking’. When the people becomes a society of creators, the result is a society open to the future, creativity and the new. Their openness and creative freedom is the polar opposite of the conformism and ‘herd mentality’ condemned by Deleuze and Nietzsche, a mentality which is the basis of all narrow nationalisms. It is the freedom of creating and commanding, not the Kantian freedom to obey Reason and the State. This paper uses Bergson's The Two Sources of Morality and Religion, and Deleuze and Guattari's Kafka: For a Minor Literature, A Thousand Plateaus and What is Philosophy? to sketch Deleuze and Guattari's conception of the open society and of a democracy that remains ‘to come’. (shrink)

Guided by Deleuze's taxonomic theory and practice and his concepts concerning the body, literature, territory and assemblage, this article examines library classification as a technique of discipline and bibliographic control. Locating books written by and about Deleuze reveals processes of discipline formation and the circulation of knowledge, and it troubles the principles upon which the classification is based. A Deleuzian critique presents the Library of Congress Classification as an abstract machine that diagrams knowledge in many academic libraries around the world.

While Levinas famously claims that ethics precedes ontology and emanates from the concrete experience of the other's face, it is often forgotten that Deleuze also discusses the face in numerous writings. The purpose of this paper is to briefly outline Levinas's arguments regarding the constitution of the face to chart its ethical importance, before engaging with Deleuze's critique of Levinas's position. I show that, by distinguishing between two systems of signification – the head-body system and the face system – Deleuze (...) agrees with Levinas that the face is an important signifier delineating the other, but destructs the notion of face to show that it: is more complex and multi-dimensional than Levinas realizes; emanates from a specific semiotic relationship; and emanates from specific socio-historical circumstances. Showing the face is a semiotic construct based in and emanating from a specific socio-historical configuration allows Deleuze not only to conclude that the face is related to politics not ethics as Levinas claims, but also to claim that it entails the inhuman in the human. This clarifies the nature of the face in Deleuze, offers a critique of Levinas's influential thinking on ethics, brings us to a discussion of the relationship between ethics and politics and reveals what Deleuze takes the political to entail. (shrink)

What and how should individuals resist in political situations? While this question, or versions of it, recurs regularly within Western political philosophy, answers to it have often relied on dyads founded upon dogmatically held ideals. In particular, there is a strain of idealist political philosophy, inaugurated by Plato and finding contemporary expression in the work of Alain Badiou, that employs dyads (such as the distinction between truth and doxa or the privilege of thought over sense) that tend to reduce the (...) complexities of practices of resistance to concepts of commitment. Although these dyads have been challenged by, amongst others, poststructuralist theorists, this has often been at the cost of losing their structuralist heritage. This thesis develops an ontology proper to structuralism that engenders non-idealist and non-dogmatic, yet ethical, practices of resistance against commitment orientated accounts of resistance and the return of classical ontological dyads. The thesis begins with an examination of the extent to which a dogmatic use of idealism grounds the work of a prominent contemporary theorist, Alain Badiou. In developing his neo-Maoist metapolitics, Badiou follows both Platonic ontology and the Marxist tradition of dialectics by claiming that political practice can only be carried out in truth by paying fidelity to an event that ruptures the presented order of things. Chapter one opens with an exploration of Badiou's mathematic meta-ontology to draw out its three foundational dyads (truth/doxa; sense/intelligibility; is/is not). It is argued that although Badiou makes important criticisms of the preponderant trends of political philosophy, he is unable to support his own account of politics due to his dogmatic reliance on idealist principles. Chapter two begins by developing two accounts: first, of the relations between Badiou's work and that of his former teacher Louis Althusser and, secondly, the relations between Althusser's thought and that of Gilles Deleuze, in particular his reading of David Hume. Discussion centres around the importance of the role that time plays within the works of all three authors, particularly in regard to the idea of the void. The chapter concludes with the argument that Hume's temporal idea of human nature is the key to a symptomatic reading of Althusser that accounts for the persistence of ideas in the latter's social theory. In chapter three, Deleuze's reading of Hume's idea of relations is developed to take into account Bergson's theory of time. Read in contrast to Quentin Meillassoux's speculative realism, the chapter argues that Deleuze's account of temporal relations informs Althusser's social theory to create the ontological grounds for non-dogmatic and non-idealist practices of resistance. These practices are developed in chapter four with an unlikely turn to John Stuart Mill's idea of genius, the metaphysical property of the individual that signifies the discovery of new truth. The chapter begins with an argument that there is an under-developed account of ethics in Deleuze's work. Distinguishing the idea of genius from both Mill's moral philosophy, as well as from utilitarian thought more generally, the idea of genius is sutured onto Deleuze's ontological account of individuation. Read alongside Althusser's social theory, which accounts for the non-idealist conceptualisation of situations, this suture creates an ethically oriented structuralist ontology. The thesis concludes with the argument that the idea of genius is the ethical imperative that motivates practices of resistance. When individuals are understood as embodied within situations, practices of resistance are conceptualised not against other components of a situation, but contra them, taking them into account in order to amplify, multiply and transform the individual's potential within a situation. (shrink)

In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age of technological change: not (...) only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light. (shrink)