How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...) person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present. -/- Edited for the State Of The Art Network by Erich Berger, Mari Keski-Korsu, Marietta Radomska and Line Thastum. -/- Produced and published by Bioart Society 2023. (shrink)

So-called ‘new materialism’ enables feminist theorists to emphasize the agential quality of matter, thereby challenging the notion that matter, particularly the biological body, is passive and inert – a notion that is gendered given the traditional association of passive matter with the feminine. While appreciating the materialist turn increasingly evident in feminist theory, Claire Colebrook warns feminist thinkers against an uncritical appeal to the vitalist tradition, which continues to privilege action, creativity and productivity over that materiality which remains unactualized potential. (...) After outlining the new materialist re-conception of matter, this paper considers the idea of a ‘passive vitalism’, which Colebrook develops in light of Gilles Deleuze and Felix Guattari's co-authored works. This paper shares Colebrook's contention that the new materialist emphasis on the agency of matter simply extends the model of the human person to the rest of nature. However, the final part of this paper begins to indicate how a theological materialism is able to affirm both the agency and patiency of matter in ways that challenge the view that the avowal of divine transcendence is inevitably opposed to the integrity of material immanence. (shrink)

Deleuze’s differential ontology is a sustained attempt to think and affirm difference as opposed to the unity of identity he insists philosophical thought has tended to privilege. However, by distinguishing between three senses of identity, termed identity of the identical, same, and common, I show that, while Deleuze’s differential ontology offers a powerful critique of identity in the senses of the identical and same, at numerous points in his analysis, such as the virtual-actual movement, the transcendental conditions defining different forms (...) of thinking, and the relationship between the forms of thinking, it appears Deleuze’s affirmation of difference depends on identity in the sense of the common. Rather than using these instances to offer a critique of Deleuze’s differential ontology, I follow his exhortation to read a philosopher creatively and suggest that distinguishing between three senses of identity reveals the complexity of the difference-identity relationship and acts as a stimulus to rethinking this relationship. (shrink)

The aim of this paper is to provide a close reading of Deleuze's complex account of Freud's Beyond the Pleasure Principle in Difference and Repetition. The first part provides a reading of Beyond the Pleasure Principle itself, showing why Freud feels the need to develop a transcendental account of repetition. In the second, I show the limitations of Freud's account, drawing on the work of Weismann to argue that Freud's transcendental model mischaracterises repetition. In the third part, I show how (...) Freud's account of the death drive is shadowed by Deleuze's own non-representational transcendental account. (shrink)

This essay seeks to articulate the many implications which Giorgio Agamben's work holds for theology. It aims, therefore, to examine his conceptualizations of language in light of particular historical glosses on the “name of God” and the nature of the “mystical,” as well as to highlight the political task of profanation, one of his most central concepts, in relation to the logos said to embody humanity's “religious” quest to find its Voice. As such, we see how he challenges those standard (...) notions of transcendence which have been consistently aligned with various historical forms of sovereignty. In addition, I intend to present his redefinition of revelation as solely the unveiling of the “name of God” as the fact of our linguistic being, a movement from the transcendent divine realm to the merely human world before us. By proceeding in this manner, this essay tries to close in on one of the largest theological implications contained within Agamben's work: the establishment of an ontology that could only be described as a form of “absolute” immanence, an espousal of some form of pantheism yet to be more fully pronounced within his writings. (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)

Angelaki, Volume 16, Issue 3, Page 101-115, September 2011.

In this essay I bring Gregory Bateson together with Deleuze and Guattari (primarily with the latter) to show their ecological compatibility, especially with Guattari’s ecosophy. I do this against the backdrop of the Anthropocene which presents us not only with a ‘climate’ of post-truth and political corruption, but also with the so-called climate crisis. In the context of these two broad examinations, I ask what can an artisan-artist-designer do given this problematic context? My reply is to call on ‘speculative design’ (...) by an ‘avant-garde without authority’ to expose the symptoms of the Anthropocene era. (shrink)

This review essay develops Gordon Bearn's interpretation of Deleuze's philosophy as an aesthetic existential indicative of the creative practice of life drawing. Life drawing requires moving beyond various forms of representation that stultify the movement of becoming and limit our ability to appreciate sensuous singularity and intensive pluralities. Sholtz offers an original account of the singularity of sensual existence, amplifying the tenuous relationship between beauty and suffering, or the intensification of life, which Bearn courageously explores. The article addresses several important (...) themes which are used to carve out a new aesthetico-ethical path of existing: beauty as imperfection, affirmation of pointlessness, the disarticulation of the aesthetic from the formal realm of art, the existential recognition of the eliminable multiplicity of possible paths, and the indeterminate nature of a true event. (shrink)