The continental philosophy of non-classical logics is a relatively new field that seeks to determine whether any aspects of certain continental philosophers’ thinking can be characterized in terms of non-classical logics. Some of the main figures that have been examined so far are Martin Heidegger, Jacques Derrida, Gilles Deleuze, and François Laruelle. Although many of these studies are grounded in the writings of Graham Priest, who wrote some of the seminal texts in the field, Jc Beall’s work also features prominently (...) in a number of cases. After surveying this field and highlighting Beall’s influence within it, I claim that it can be substantially expanded by making further uses of Beall’s writings, especially ones that introduce non-classical logics in ways that are especially suitable for this particular field of study and also that discuss such topics as negation, subclassical logics, logical pluralism, and glutty futures. (shrink)

Connecting research and production, art research represents a breaking of the barrier between creation and academia. However, there is also a contradiction contained in this kind of research deriving from its methods, since the process of art-based practice must, by its very nature, involve the subjectivity of the artist. I use my own studies as the research object to discuss this issue, and this article presents the problems I encountered during my artistic practice and research of ambiguous roles. This paper (...) has two main points of focus. First, I explore how the fallacy of self-referentiality is presented in paintings and films, and, second, I draw on my short film practice during my master’s study period to explain how the shots present a continuum in relation to the “absent one” and produce interface effects. However, the second point is not necessarily the result of the first one. This kind of connection and contradiction between practice and cognition in the process of art research is that I will analyse and discuss here. (shrink)

The primary focus of this project is the silent and subvocal speech-recognition interface unveiled in 2018 as an ambulatory device wearable on the neck that detects a myoelectrical signature by electrodes worn on the surface of the face, throat, and neck. These emerge from an alleged “intending to speak” by the wearer silently-saying-something-to-oneself. This inner voice is believed to occur while one reads in silence or mentally talks to oneself. The artifice does not require spoken sounds, opening the mouth, or (...) any explicit or external movement of the lips. The essay then considers such subvocal “speech” as a mode of writing or saying and the interior of the mouth or oral cavity as its writing surface. It briefly revisits discussions of telepathy to recontextualize Heidegger’s warning against enframing language exclusively within calculative technics and physiology, which he suggests is detrimental to Mundarten (mouth-modes of regional dialects). It closes in reconsideration of Husserl’s phenomenology of language and meaning in Ideas as it might apply to subvocal speech-recognition interfaces. It suggests ways by which the electrophysiology that the device detects and deciphers (as an alleged intention of a presumed natural language unspoken vocally or aloud) might supplement Husserl’s insinuation of the Leiblichkeit of language through a self-stamping extraction of an extension of meaning. (shrink)

This paper explores how affirming events rather than substances, and difference rather than identities, might affect how one responds to life's exigencies, in particular the act of choosing when to end the life of a dog that was a beloved companion. The paper addresses the concepts of the event and the time of Aion as they are presented in The Logic of Sense, and examines the resonances these concepts have with a notion of learning presented in Difference and Repetition and (...) a notion of essence presented in Expressionism in Philosophy: Spinoza. The argument is made that Deleuze presents us with a notion of death that is a part of the creative unfolding of life, and that affirming events rather than substances and difference rather than identities can give us insight into practical questions about how to live one's life. (shrink)

While the Deleuzo-Guattarian concept of ‘body without organs’ is developed alongside their critique of Freudian and Lacanian psychoanalysis, it is also developed alongside their critique of Christianity, most poignantly in the sixth plateau of A Thousand Plateaus. Here Deleuze and Guattari quote Antonin Artaud in order to show how ‘the judgment of God weighs upon and is exercised against the BwO’. In order to understand this relationship between judgement of God and the BwO, this essay explores Deleuze's critiques of Christianity (...) in his earlier works and concludes that the BwO, much like Artaud's own poetry, is developed in contrast to an internalised form of Christianity. (shrink)

Given the affective psychological and cognitive dynamics prevalent during human–robot-interlocution, the vulnerability to cultural-political influences of the design aesthetics of a social humanoid robot has far-reaching ramifications. Building upon this hypothesis, I explicate the relationship between the structures of the constitution social ontology and computational semiotics, and ventures a theoretical framework which I proposes as a thesis that impels a moral responsibility on engineers of social humanoids. In distilling this thesis, the implications of the intersection between the socio-aesthetics of racialised (...) and genderised humanoids and the phenomenology of human–robot-interaction are illuminated by the figuration of the experience of a typical black rural African woman as the user, that is, an interlocutor with an industry-standard socially-situated humanlike robot. The representation of the gravity of the psycho-existential and socio-political ramifications of such woman’s life with humanoids is abstracted and posited as grounds that illustrate the imperative for roboticists to take socio-ethical considerations seriously in their designs of humanoids. (shrink)

The contemporary info-proliferation is taking the ideal of a solid technological rationalism to its extreme point: the depletion of all bodies into 'informational cuts’, orderable bits and pieces of data fabric. The present contribution will discuss this process of datafication, trying to avoid any polarization along the ‘pro’ or ‘anti’ dualism, and any consequent excess of enthusiasm or critique. For this purpose, the essay will take the form of a stroll across post-digital culture, alternatively under the effects of a ‘red (...) and a blue pill’ as the two main points of view already exemplified, in 1999, by Morpheus in the famous sci-fi movie The Matrix. To these two points of view, respectively identifiable as digital critique, or digital potential, a yellow one will be added, which can be recognized as that of ‘hacker culture’, at the same time suggesting that, instead of a dialectical contraposition between two different perceptual and cognitive modalities, post-digital culture can be more easily discussed through a multiplication of possible perspectives. (shrink)

ABSTRACT The current article deals with the correlation between virtual and physical reality as they concern the body. The thesis of this article is that the lived body transposed into virtual reality becomes a body without organs in Deleuze’s terms, i.e. the lived body, a sensitive field of sensorial events immersed in a lived space, becomes a virtual body made up of intensities, of pure forces or magnitudes within a vector space, thereby losing its affective qualities. Furthermore, lived and virtual (...) bodies build up a correlation bridged not by intentionality, as phenomenology would maintain, but by sensation. Virtuality is thus characterised by both the loss of corporeality and the simulation of the lifeworld. But how can the split between the real and the virtual body be bridged? On the one hand, in Deleuze’s conception of sensation, real and virtual collapse into one another so that the real world ‘resonates’ with its virtual double. On the other hand, Merleau-Ponty’s concept of form relates both realities in terms of a correlation of signification between the physical and the existential realms. With recourse to the notion of structure or form, I will argue that the phenomenal and the virtual do not represent different modes of being, but are bound by a correlation ruled by sensation as a system of intensive forces. (shrink)

Whether in the growing awareness of the origins of supermarket meat or the emergence of meat art, carnality appears to be something increasingly under question. Yet, despite meat carrying connotations that offer provocative connection with feminist concerns regarding the body, consumption and the cultural representation of women, meat consciousness has been only sporadically explored in existing feminist theory. Struck, however, by the comparisons between the dissected Body Worlds corpse and the filleted flesh of meat that are levelled most particularly at (...) female bodies on display, I examine in my article the bodily relations constructed in the Body Worlds exhibition by positioning the Body Worlds cadaver as a grotesque ‘meaty’ body under the broader rubric of the Bakhtinian carnivalesque. Within such webs of alimentary exchange, pleats of meaty matter may bring about localised eruptions of traditional and bodily engagements – including that of the gendered gaze – that entwine the possibility of pleasure, wonder and fascination into each act of inter-bodily engagement. Through this entrance into the very bowels of Body Worlds, my article ultimately asks what, as a feminist, it means to become meat conscious. (shrink)

In this article, I analyse line-rendering techniques in drawing and choreography, based on a Deleuzian framework. This pragmatic approach for understanding affect emerges in three distinct formulations. The first engages the coincidence of drawing and choreography at the limit of reach; the second investigates how trace and movement generate different yet mutually resonant versions of semblance. The third framework considers the potential for improvisation in the irreconcilability of contour and surface in the weighted line. These three framings generate an experimental (...) milieu in which I articulate the co-emergence of thought and feeling in relation to relevant concepts of the body and affect. In activating affective intensity in different line-rendering operations, this analysis traces the way that affects help to modulate tendencies of moving, feeling and thinking over a series of operations. (shrink)

The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for the consideration (...) of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic. (shrink)

This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus can be understood, in part, as the culmination of the diverse set of inquiries into signs that both (...) Deleuze and Guattari - Philosophie – Nouvel article. (shrink)

As a philosophical paradigm, differential heterogenesis offers us a novel descriptive vantage with which to inscribe Deleuze’s virtuality within the terrain of “differential becoming,” conjugating “pure saliences” so as to parse economies, microhistories, insurgencies, and epistemological evolutionary processes that can be conceived of independently from their representational form. Unlike Gestalt theory’s oppositional constructions, the advantage of this aperture is that it posits a dynamic context to both media and its analysis, rendering them functionally tractable and set in relation to other (...) objects, rather than as sedentary identities. Surveying the genealogy of differential heterogenesis with particular interest in the legacy of Lautman’s dialectic, I make the case for a reading of the Deleuzean virtual that departs from an event-oriented approach, galvanizing Sarti and Citti’s dynamic a priori vis-à-vis Deleuze’s philosophy of difference. Specifically, I posit differential heterogenesis as frame with which to examine our contemporaneous epistemic shift as it relates to multi-scalar computational modeling while paying particular attention to neuro-inferential modes of inductive learning and homologous cognitive architecture. Carving a bricolage between Mark Wilson’s work on the “greediness of scales” and Deleuze’s “scales of reality”, this project threads between static ecologies and active externalism vis-à-vis endocentric frames of reference and syntactical scaffolding. (shrink)

Este texto já apareceu em 2018 na Revista Dobra N° 2. Resumo : Manuel António Pina chamava-lhe isto porque não sabia o nome d'isto. Já eu venho escolhendo a precária, transitória e possivelmente redundante designação de “ritmo vital”. Escolher este nome não resulta de uma tentativa de definição, é antes uma decisão operatória que permite avançar e descolar a atenção do isto, para o gesto de contacto com esse isto – ritmo vital –, e a sua relação com a experiência (...) estética e com a criação artística. Neste - Esthétique – Nouvel article. (shrink)

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various (...) areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate. (shrink)

John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconsidering it dynamically. Nowadays, this view opened the path to somaesthetics, a term coined by Richard Shusterman, and aesthetic anthropology. Here, it is argued that the contribution of pragmatist aesthetics could be further developed by exploring its analogies with techno-aesthetics, a paradigm proposed by French philosopher Gilbert Simondon in the early 1980s. Art occupies accordingly a special place within the different forms of aesthetic experience, being (...) considered as a way of experimenting the impact of new technologies in the human experience. It is a process by which technologies create ‘devices’ for experimenting perception and reflection: namely, ways of reconstructing the nature of the human mind in-between body and technology, and by means of their interaction. Cinema reconsidered after Dewey’s fellow George H. Mead, offers an exemplary case as both artistic and technological devices. (shrink)

This essay investigates thought as an event of “multiplicity.” French philosophers Gilles Deleuze and Alain Badiou pose this as a concept of change (political and otherwise). Both philosophers propose that multiplicity means thinking happens as an event by engaging a theoretical impasse, or “un-thought.” Un-thought opens up and changes ideas into complex varieties or multiplicities. This dynamic is examined through the example of May ‘68, an actual event that gives context to how multiplicity expresses “radical change.” The aim of this (...) article is to see how both thinkers’ theories overlap. For Badiou, multiplicities are “truths” that happen whilst making a decision, engaging a notion of “point.” For Deleuze, multiplicities are concepts that happen materially in life as metaphysical forces, or “lines.” Multiplicity is critically approached as a complex variety of ideas that change in the forms of art, politics, and science. (shrink)

Straipsnyje analizuojamos dvi prieigos prie Francio Bacono tapybos. Tiek Gilles’io Deleuze’o filosofijai, tiek Alphonso Lingio postfenomenologijai būdingos jautraus kūno, pojūčio ir afekto sąvokos, o jų probleminis statusas geriausiai išryškėja būtent per jų santykį su Bacono tapyba, kuri kaip savo pagrindinį objektą pateikia pažeidžiamo ir intensyviai afektuojamo kūno realybę. Straipsnyje koncentruojamasi į klausimą, kuris inicijavo abu tyrimus. Kas iš tiesų lemia Bacono paveikslų paveikumą: linijos ir spalvos prievartingumas, paneigiantis figūratyvumo faktorių Bacono tapyboje ar, priešingai, paties gyvenimo žiaurumas, patvirtinantis reprezentacijos reikšmę? Straipsnyje (...) teigiama, kad tokias skirtingas interpretacijas lemia skirtinga patirties samprata. Lingis akcentuoja aktualią patirtį, tai leidžia pagrįsti kūrybos, asmeninės kūrėjo patirties ir gyvenamojo pasaulio ryšį. Deleuze’as kalba apie virtualią patirtį, beasmenį gyvenimą, kūną be organų ir naujų perspektyvų kūrimą. (shrink)

Šiame straipsnyje nagrinėjama pojūčio logika, Deleuze’o aptarta jau knygose Kanto kritikos filosofija ir Skirtis ir kartotė. Šiuo atveju pojūčio logika analizuojama pasitelkiant meno kaip eksperimentavimo plotmę, parodant, kad menas, ypač modernusis, pats būdamas nulemtas tam tikrų pojūčio logikos principų, tuo pačiu tampa vienu geriausių būdų šias sąlygas atskleisti. Deleuze’as meną apibrėžia kaip pojūčių kūrimą, padarant nematomą jėgą matoma. Tapsmo arba genezės plotmė kasdienei patirčiai yra neprieinama, negalima reprezentuoti, tačiau menininkų kuriami pojūčiai tam tikru būdu vaizduoja nereprezentuojamybę. Francio Bacono tapyba Deleuze’o (...) yra traktuojama kaip vienas geriausių reprezentacijos, buvusios svarbiausia klasikinio meno problema, įveikos būdų ir yra aptariama pasitelkiant kitų šiuolaikinio meno krypčių, tokių kaip abstrakti tapyba ir abstraktus ekspresionizmas, analizę. Diagramos, įvedančios chaosą ir turinčios suardyti klišes bei išlaisvinti pojūtį, naudojimo būdas apibrėžia kiekvienos tapybos krypties specifiką ir pojūčio sukūrimo sėkmę. Tokie Baconui būdingi tapybos aspektai kaip haptinės erdvės sukūrimas, analoginės kalbos naudojimas ir spalvos moduliacija nusakomi kaip geriausios pojūčio išgavimą lemiančios sąlygos. Bacono kuriamos Figūros, kurios nebėra siejamos su jokiu atpažįstamu objektu, geriausiai išlaiko pojūtį, nes jėga turi būti įtempta ant kūno idant atskleistų virtualios plotmės virsmą aktualia. (shrink)

This paper approaches Badiou’s essay, ‘Dance as a Metaphor for Thought,’ on its own terms, considering its stated approach and central claims. This is in order to avoid the indignant tone of some responses from the field that desire other approaches to philosophy’s engagement with dance. Badiou’s project in ‘Dance as a Metaphor for Thought’ is antithetical to my own current, advocatory research, thus offering an adversary of sorts. If it is the case that dance is ‘instrumental’ for the art-philosophy (...) schema that Badiou is formulating, that is, being ‘incorporated’ into the strategies of a philosophy of art, what’s in it for dance? Can Badiou’s project be repurposed for our own disciplinary concerns? For instance, if his conception of dance is seen as lacking from a disciplinary perspective, then what is the idea of dance that positions his as ‘wrong’? (shrink)

This essay’s main objective is to develop a theoretical, ontological basis for critical, social justice-oriented science education. Using Deleuze and Guattari’s notion of assemblages, rhizomes, and arborescent structures, this article challenges authoritarian institutional practices, as well as the subject of these practices, and offers a way for critical-social justice-oriented science educators and students to connect with sociopolitical contexts. Through diagramming institutional and community relationships using DG’s theory of assemblages, we envision new ontological spaces that bridge social and material entities. A (...) conceptualization of science education through DG’s philosophy of rhizomes and assemblages allows educators to merge critical, post-foundational perspectives with questions of ontology: not just what exists, but what could exist in terms of human social organizations, inorganic matter, microorganisms, and plant/animal populations. (shrink)

ABSTRACTThis piece explores the dialogic form as a way to engage in rigorously focused philosophical analysis and the generation of problems. We take up Jacques Rancière’s understanding of the relation of aesthetics and politics, and his critique of Gilles Deleuze’s aesthetic thought in its purported inability to generate political community. To develop the stakes of this problem, we introduce Simone Weil’s concept of decreation as a possible bridge between the deformative capacity of aesthetics emphasized by Deleuze, and the politically constitutive (...) aesthetics demanded by Rancière. To see the efficacy of the relation between the concepts of deformation, decreation, and political community, we explore the history of the problem of figuration in art and the problem of collective constitution in politics. We conclude that a process of deformation and decreation is an essential feature of political becoming which does not preclude the development of community; undoing the self, to the contrary, activates wider possibilities for relating to the human and non-human world. (shrink)

El objetivo de este artículo es estudiar el Curso de Xavier Zubiri de 1975 Reflexiones sobre lo estético a la luz de la “noología”, horizonte de pensamiento que el autor español dejó planteado al final de su vida. Allí lo estético cobra otra dimensión en su estudio al vincular las tres esferas de la noología: la aprehensión primordial de la realidad, el logos sentiente y la razón sentiente. A partir de estas tres categorías cardinales, vemos lo estético en un primer (...) nivel de la aprehensión misma, otro segundo nivel en donde lo estético se diseña y son las artes las que expresan lo fruitivo de la realidad y por último, un tercer nivel que son las obras de arte propiamente dichas. (shrink)

Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art can be (...) represented. I show that this criticism emerges from a misreading of the place of representation in Deleuze’s philosophy. I will argue that by failing to take account of some of the key features of Deleuze’s wider ontology, such as the importance of both the virtual and the actual for his analysis of objects, Lotz’s critique proves unsuccessful. In particular, I want to show that Lotz’s criticisms rest on a failure to attend to the systematic nature of Deleuze’s philosophy, and in particular, the place of Deleuze’s analysis of Bacon within the system as a whole. I will further show that Lotz’s phenomenological defence commits the fallacy of petitio principii, assuming the validity of the phenomenological method in order to justify the phenomenological approach. (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)

The purpose of this article is to analyze the connections of spatial relations and settings with narrative, and the presentation of these relations in Jüri Ehlvest’s texts. Distinctions are made between textual space (as designation, description, or rhetorical presentation) and fictional space (the space in which narrative action takes place and the site of the denouement of events). Fictional space can be expressed as textual space in one of the four following ways: (a) perceived space (b) experienced space (c) logical (...) space (d) alogical space. The multilayeredness of Ehlvest’s texts, their fragmentariness and dislocated reality, entail a complicated reception. In contrast, however, the geographical space represented in the texts is generally quite clear and accessible, with the effect of seeming real and humanly possible. Indeed, specific spatial elements are one of the sources of the verisimilitude and plausibility of Ehlvest’s texts. For the most part, the place where ehlvestian narrative plays itself out is a clear topographical environment, usually an interior; the textual representation of spaces is minimalist, avoiding descriptions, and with practically no impression of movement. In addition to representation of places, rooms, houses, and open space using ordinary, direct, (yet very minimalist) means, several more indirect strategies of creating space can be found in Ehlvest’s texts. This article calls attention to some characteristic devices from this indirect repertoire, grouping them as follows: things; window and picture; repetition, fragment, and mirror; body and emptiness. Of the four types of textual space mentioned above, the one most characteristic of Ehlvest’s stories is experienced space, which could also be described as haptic space of experience. However, due to the fragmentariness and bricolage typical of Ehlvest, there are certainly also plenty of examples of the other types, particularly perceived and alogical space. Many transformations can be noted when comparing Ehlvest’s earlier and later texts. First, many earlier images disappear (tree, mill, bridge). Second, the first-person protagonist’s bodily experience becomes more important (eating, illness, pain). Third, the borders between consciousness and the world become nebulous, yet the boundary between the protagonist and his environment does not disappear completely. Neither does the text become a meandering between consciousness and the world. Indeed, narrative emphasis shifts to this very boundary, and to the possibility of its erasure. As such, however, the plausibility of the space where action takes place is maintained, much as in Ehlvest’s earlier stories. (shrink)

This article divides into two roughly equal parts, both of which aim to address the act rather than the art of drawing. The second part focuses on a theoretical discussion of drawing. The first bears on a number of themes including the role of drawing in colonial history, drawing and data collection, and drawing and memory. It begins by describing an episode that unfolded as an encounter between two worlds, and two ages—an episode whose meaning and effects are still controversial (...) today. (shrink)

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)

Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best (...) treated as a peripheral phenomenon. In this article I argue that the failure to place art and aesthetics at the center of thought within phenomenology leads to a neglect of the expressive primacy of the body in movement. In the current naturalization of phenomenology the questions related to expressive movement are often consigned to the notions of motor intentionality or gesture. However, in his book How the Body Shapes the Mind the philosopher Shaun Gallagher interestingly concludes, based on experimental results, that bodily movements of gesture cannot be accounted for by the phenomenologically adapted notions of ‘body image’ and ‘body schema’. Symptomatically, Gallagher ends his chapter on bodily gesture with a section title asking the relevant question that remains unanswered within a phenomenology of mind: Expressive movement from the beginning? The search for an answer to this question points, in my view, to the possibility of a more radical understanding of the embodied mind based on the primacy of expressive experimentation rather than representational experience, which makes the question of art and aesthetics a core issue. Following the image of thought in the philosophy of Gilles Deleuze I argue that art, as the production of sensation through experimentation, presents us with a mode of thinking that accounts for expressive bodily movement as a constitutive force in subjective thought and experience. (shrink)

What does it mean to think? In the following article I will show Gilles Deleuze’s answer to this question. According to him ’to think is to create — there is no other creation — but to create is first of all to engender ' thinking ' in thought ’. To understand what this means, to grasp the radical nature of such an event, we need to see how for Deleuze to engender thinking in thought means a repetition of that genetic (...) process which has brought forth the thinking subject in the first place. In this event that which otherwise subsists beneath normal experience, as life- and consciousness sustaining forces, now become conscious experience. The implication of this is that true thinking means the creation of a new life and consciousness. Via a close-reading of chapter two of Difference and Repetition I show how this leads the thinker into a radical metamorphosis of consciousness, a process of Stirb und Werde. (shrink)

Traditionally, kairos has been seen as a “timely” concept, and so invention is said to emerge fromthe timeliness of a cultural and historical situation. But what if invention was thought of as thepotential to shift historical courses through the injection of something new or alien into a situation?This essay argues that kairos has not been able to free itself from its historical constraints becauseit has been bound to a human sense of temporality. By evolving along patterns different from print,the apparatus (...) of the cinema developed in a way where it was not bound to illustrating movement ortimeas it occurs in human-centered experience. Following the work of Gilles Deleuze on cinema,this article argues that the outside of a human sense of time is an untapped source of invention,already present yet dormant within kairos. (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)

Taking its title from the discussion of a ‘new Meno’ to be found in Difference and Repetition, through an examination of the link between learning and thinking set out across Deleuze's work this paper charts the important sense in which philosophical thought is characterised by an apprenticeship. The claim is that just as certain aesthetic and biological processes involve inscrutable and non-resembling elements that cannot be known in advance, the experience of learning is one oriented by unforseen encounters. With a (...) view to a peculiarly heuristic use of dictionaries in the case of language learning, the paper shows how the logic of this experience is one whereby the putative meaning of things does not enjoy a priority over the immanence of their expression. (shrink)

Since the mid-twentieth century the concepts ‘creativity’ and ‘innovation’ have become increasingly significant within a host of fields, such as education, medicine, engineering, technology and science. Moreover, such terms appear to have become ubiquitous, if not hegemonic, within the contemporary discourses that inform debates that surround the allocation and cultivation of the social capital that is native to education, both tertiary and otherwise. Given that the thinking of creativity appears increasingly to be possible only within the contemporary logics of utility (...) and productivity that inform the discussion of the ‘knowledge economy’, the philosophical works of Gilles Deleuze are perhaps now more vital than ever, at least insofar as he is able to provide the possibility of approaching an ‘otherwise’ to the contemporary thinking of ‘creativity’. This paper discusses the possibility for Deleuze's discussion of rhythm – as can be located in his text A Thousand Plateaus and his work on the twentieth-century painter Francis Bacon – as providing the means for better posing the question of the conditions for the emergence of a fundamentally creative approach to teaching creativity to be conceptualized within our present situation. (shrink)

In this essay I focus on the idea of the univocity of being, championed by Duns Scotus and given prominence more recently by Deleuze. Although I am interested in how this idea can be established, my primary concern is with something more basic: how the idea can even be properly thought. In the course of exploring this issue, which I do partly by borrowing some ideas about logical syntax from Wittgenstein's Tractatus, I try to show how there can be dialogue (...) between analytic philosophers and those of other traditions. (shrink)

In this essay, I examine Luce Irigaray’s aesthetic of sexual difference, which she develops by extrapolating from Paul Klee’s idea that the role of painting is to render the non-visible rather than represent the visible. This idea is the premise of her analyses of phenomenology and psychoanalysis and their respective contributions to understanding art and sexual identity. I claim that Irigaray assembles an aesthetic of sexual difference that exceeds these familiar intellectual traditions, one that articulates the encounter of non-visible, material (...) forces that engender modes of sexuate being and becoming. I further claim that this encounter is the very matter of artistry and art-making. (shrink)

This article brings together and compares my own artistic practice of drawing/painting and the eighteenth-century novel Tristram Shandy. In both cases, there is a free play of lines, textual or graphic, which sets ‘all things out of rule’. A whole typology of lines is woven throughout Sterne’s text and reappears, alter-inscribed, in the artworks. The article presents an account of these lines: rectilinear, hylomorphic, fractal and nomadic, as well as the line of incision (or the cut). Each is explored as (...) a specific mode of line with differing effects. To follow these lines is to enter a world of material expressivity, to be exposed to an ontology of becoming and change, of flows and transformations, that overturns the traditional ontology of being and stable identity. Sterne’s use of wild digression, doodles and graphisms, establishes certain proximity between writing and drawing. Both may be seen as types of ‘figured metaphysics’ and as ways of bringing something new into the world. The article concludes with some philosophical observations on the strange event of drawing a line, with reference to the work of Heidegger and Deleuze and Guattari. (shrink)

In this paper I trace pictorial acts that move beyond figuration and narration, particularly focusing on Gwen John's portraits of women and girls, the work of her maturity as an artist. In doing this I make connections between John's and Cézanne's letters about their painting techniques and direction. The analysis draws on Deleuze and Guattari's approaches to the work of art. I discuss in particular the concept of faciality in the Thousand Plateaus and the problem of painting forces in Deleuze's (...) work on Bacon, The Logic of Sensation. My argument is that an analysis that goes beyond phenomenology and semiotics opens new ways of seeing and appreciating a modernist woman artist's paintings, and sheds new light on the way her art allows the female figure to emerge as a woman-becoming-imperceptible within a patriarchal regime of signs. (shrink)

Educational philosophy in English-speaking countries tends to be informed mainly by analytic philosophy common to Western thinking. A welcome alternative is provided by pragmatism in the tradition of Peirce, James and Dewey. Still, the habit of the so-called linguistic turn has a firm grip in terms of analytic philosophy based on the logic of non-contradiction as the excluded middle. A body∼mind approach pertains to the edusemiotic turn that this article elucidates. Importantly, semiotics is not illogical but is informed by the (...) paradoxical logic of the included middle. The process of reasoning is however indirect or mediated; it involves active interpretation (in a variety of forms) versus direct representation; it is analogical and connects what are otherwise doomed to remain isolated substances of body versus mind with a separation of knowledge and action. Analysing and synthesising the philosophies of Charles Sanders Peirce and Gilles Deleuze, together with a brief excursion into the cutting-edge science of coordination dynamics, this article will demonstrate how the body∼mind assemblage is created in practice, and what may be the implications of such a stance for educational philosophy and pedagogical practice. (shrink)

Resumen El objetivo principal de este texto es el análisis de la concepción poético-filosófica propuesta Peter Sloterdijk (1989) en su libro Thinker on Stage; Nietzsche's Materialism, en el cual intenta revalorar El Nacimiento de la Tragedia de Nietzsche y su influencia en la Modernidad filosófica y las prácticas artísticas contemporáneas. Explorando los conceptos Cosmonáutico y Psiconáutico propuestos por Sloterdijk, indagaremos la relevancia de la interpretación nietzscheana de la tragedia griega para las prácticas artísticas actuales. Cómo es afectada la filosofía al (...) encontrarse con conceptos tales como estilo, práctica y performance es la pregunta central que guía este análisis. El concepto de acción es la herramienta a utilizar en esta exploración.This text aims at the analysis of the poetic-philosophic conception in Peter Sloter-dijk (1989) in his book Thinker on Stage; Nietzsche's Materialism, in which he revalues Nietzsche's The Origin of Tragedy and its influences in philosophical Modernity and contemporary artistic practices. How is philosophy affected in the encounter with concepts such as style, practice, and performance is the main question guiding this analysis. The concept of action is the conceptual tool used for this exploration. (shrink)

In his lectures from 1987, Deleuze draws an analogy between Michelangelo's figures and Leibnizian substances by claiming that neither are essences but rather sources of modifications or manners of being. The best way to explore this analogy, I argue, is by focusing on Michelangelo's preference for serpentine shapes. By putting key passages from The Logic of Sensation, The Fold: Leibniz and the Baroque and What is Philosophy? in resonance with the Leibnizian accounts of corporeal aggregates and possible worlds on the (...) one hand and art history on the other, I will try to develop a Deleuzian concept for the typically Mannerist ideal of the serpentine figure. Although Deleuze usually prefers to speak in musical terms of refrains and counterpoints by which various blocs of sensation resonate with each other, in the visual arts it is the serpentine figure that renders visible sensory becoming as a rhythmic counter-positioning of possible worlds within a single body without organs. (shrink)

The painter Francis Bacon and the philosopher Gilles Deleuze agree with Heraclitus: any phenomenon is constituted of movement or becoming and no appearance endures. I read Francis Bacon, The Logic of Sensation from the perspective of the Heraclitean flux. This allows me to show the eminent role of forces in the work of Deleuze, which he inherits from the Greek philosopher. I point at sensation as Deleuze's re-thinking of the notion of becoming. ‘How can an artist make an object endure?’ (...) The artistic product, for Deleuze, embodies the force to recreate itself, and thus to endure in the universe. This phenomenon is a bloc of sensation. (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)

ArgumentThis paper argues for the viability of a different philosophical point of view concerning classical Greek geometry. It reviews Reviel Netz's interpretation of classical Greek geometry and offers a Deleuzian, post-structural alternative. Deleuze's notion of haptic vision is imported from its art history context to propose an analysis of Greek geometric practices that serves as counterpoint to their linear modular cognitive narration by Netz. Our interpretation highlights the relation between embodied practices, noisy material constraints, and operational codes. Furthermore, it sheds (...) some new light on the distinctness and clarity of Greek mathematical conceptual divisions. (shrink)

The aim of this paper is to explore Deleuze's use of Kant's argument from incongruent counterparts, which Kant uses to show the existence of what he calls an “internal difference” within things. I want to explore how Deleuze draws out an important distinction between the concept and the Idea, and provides an incisive account of his relationship to both the Kantian and Leibnizian projects. First, I look at Kant's use of the argument to provide a refutation of the Leibnizian account (...) of space, before showing how this criticism in fact rests on the question of the conceptual determination of object. Second, I show how Deleuze develops a taxonomy of difference on the basis of his reading of Kant's argument. Finally, I look at what Deleuze sees as the limitations in Kant's understanding of this concept and Deleuze's attempt to overcome these limitations through the introduction of the notion of the Idea, which will provide a genetic and nonconceptual account of the object. In doing so, I show why Deleuze takes the formulation of an adequate account of difference to be one of the central aims of his own metaphysics. (shrink)

In this article, the diagram is used to chart the movement from Deleuze's transcendental empiricism and engagement with structuralism in the 1960s to Deleuze and Guattari's ethico-aesthetic constructivism of the 1970s and 1980s. This is shown to culminate in a biopolitical critique and decoding of philosophy, which is part of the unfolding of a transdisciplinary research programme where art is seen to come ontologically ahead of philosophy.

Could it be that Deleuze's most lasting legacy will lie in his ‘Postscript on Control Societies’, a mere 2,300-word essay from 1990? While he discussed computers and new media infrequently, Deleuze admittedly made contributions to the contemporary discourse on computing, cybernetics and networks, particularly in his late work. From the concepts of the rhizome and the virtual, to his occasional interjections on the digital versus the analogue, there is a case to be made that the late Deleuze has not only (...) influenced today's discourse on new media but also proposes an original set of arguments about society and politics at the turn of the new millennium. Focusing on the ‘Postscript on Control Societies’ and a handful of texts that surround it, we will reconstruct an image of what it means to live in the information age. This will have consequences for how we define the digital and the analogue, what the computer means, and ultimately provide some insight into one of the more elusive terms in all of Deleuze, the superfold. (shrink)