Hastings reads the novel Comme dans un film des frères Coen by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” therefore recalling the name of the actress (...) with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself. (shrink)

One issue that is often ignored in political theory is the problem of means and modes of communication affecting dialogue between parties. In this age of hyper communication, this is something particularly relevant. The point here is that, despite the ease with which we have access to both means and modes of communication, there remains the problem of truly communicating and truly dialoguing with the Other. Michel Serres’ work Le Parasite is a seminal work on this issue. According to him, (...) in means and modes of communication, the parasite is an unwanted entity that interferes with what would otherwise be a clear connection between a sender and a receiver. But messages must pass through means and modes of communication, and this necessarily interferes with the message. The noise is therefore a constitutive feature of any form of communication. In this article, I assess the implications of Serres’ theory for Buber’s views on dialogue and for conflict resolution between individuals and communities in conflict. My discussion will be centred on informal education and will make reference to concrete instances of Anti-Semitism in the Middle-Eastern media, and how it affects relations between communities in the region. (shrink)

: This essay attempts to address the crucial relation of feminist philosophy to minorities inside and outside of feminism. To do so it turns to Gilles Deleuze and Félix Guattari, focusing on their concept of "becoming minoritarian" and related concepts. Aided by close readings of two canonical but ultimately negative assessments of Deleuze and Guattari, Alice Jardine's "Woman in Limbo" and Rosi Braidotti's Patterns of Dissonance, the essay outlines and argues the merits of a "minoritarian" feminism.

Review essay of Peter Hallward's Out of This World: Deleuze and the Philosophy of Creation.

Contemporary capitalism is in effect, if not in intent, Deleuzian. As a network of networks, it is rhizomatic, flexible, chaosmotic, evolving, expanding. In the negativist spirit that characterizes the work of the Frankfurt School, this article shows via an analysis of the goverment of the self, the commodification of culture and the modification of nature, how contemporary capitalism does colonize not only the life-world but also life itself.

Deleuze considera a Fichte un moralista, que por tanto juzga con un criterio que trasciende el punto de vista del sujeto concreto y corporal. Sin embargo, teniendo en cuenta la doctrina de los impulsos presente en la _Sittenlehre_ de Fichte, es posible considerarlo ético en sentido deleuziano: el valor depende del aumento de potencia emergente de composiciones o armonías. Por otra parte, en Deleuze las leyes de composición y las relaciones constitutivas no son afirmadas dogmáticamente, sino como fruto de un (...) proceso genético rigurosamente determinado entre Ideas e intensidades individuantes. (shrink)

The intertwining of landscape and face belongs to human spatial epistemology: as suggested by Matteo Meschiari, primitive humans used to orientate themselves in landscape through recognition of facial patterns. By reflecting upon Marlen Haushofer’s novel The Wall (Die Wand), the article aims to question the semantic of the “face of the landscape” in the wake of an imagined nuclear apocalypse that leaves behind a cat, a cow, a dog, a woman and a wall. The wall transcends the boundaries between human (...) and other-than-human: in terms of Roberto Marchesini, it creates a somato-landscape – a hybridization of inner and outer landscapes typical of post-human awareness. Finally, such a landscape culminates in the dismissal of the pre-apocalyptic culture of the face: faces no longer function as a means of recognition. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 206 Seiten: 181-205.

This article discusses the conceptualisation, organisation and philosophical orientation of academic history culture in UK higher education. It problematises the extent to which a dominant history culture in UK universities implies and uncritically reproduces normative understandings about the subject; about its epistemological standing, sociopolitical functions, and the presumed cultural value of the discipline practices that students learn to perform. We suggest that current conceptions of history degree curricula are overly thin and organised around a dominant managerialist discourse of skills, personal (...) development and learning outcomes. In a historicised world, in which history-focused behaviour has a crucial, ideological, affirmatory role, and in which historical narratives have a privileged cognitive function, we argue that it is critical for university history students to be able to deconstruct the processes by which history legitimises itself, and reinforces matrices of power in our societies. The positioning of history in higher education as a form of technocratic managerialism closes down spaces in which students can explore the potential of historical practices as a means of engaging with issues of current sociopolitical and ethical concern. We ask in this article, is this what we want an academic history culture to do? (shrink)

Straipsnyje teigiama, kad XX a. įvyko perėjimas nuo vienio prie daugio tiek politikos, tiek mokslo, tiek meno, tiek meilės srityse. Šis sąmoningumo pokytis XX a. antroje pusėje nulėmė atsiradimą daugio ontologijos, kuri metė iššūkį Dievo, kaip monarcho, tapatinamo su vieniu sampratai. F. Nietzsches tvirtinimas „Dievas mirė“ reiškia Dievo kaip monarcho mirtį. Teigiama, kad mūsų epochoje Dievo vaizdinys bus gyvybingas tik tada, kai, jį kuriant, bus atsižvelgta į daugio ontologiją. Dievo samprata, atsižvelgianti į daugio ontologiją, yra Dievo kaip hiperžaismių tinklo samprata. (...) Krikščionybės simbolis Švč. Trejybė atitinka daugio Dieve sampratą ir yra Vakarų visuomenių orientacijos į politinį, socialinį, etninį daugį liudijimas. (shrink)

The recently rising field of Critical Data Studies is still facing fundamental questions. Among these is the enigma of digital subjectivation. Who are the subjects of Big Data? A field where this question is particularly pressing is finance. Since the 1990s traders have been steadily integrated into computerized data assemblages, which calls for an ontology that eliminates the distinction between human sovereign subjects and non-human instrumental objects. The latter subjectivize traders in pre-conscious ways, because human consciousness runs too slow to (...) follow the volatility of the market. In response to this conundrum Social Studies of Finance has drawn on Actor-Network Theory to interpret financial markets as technically constructed networks of human and non-human actors. I argue that in order to develop an explicitly critical data study it might be advantageous to refer to Maurizio Lazzarato’s theory of machinic subjugation instead. Although both accounts describe financial digital subjectivation similarly, Lazzarato has the advantage of coupling his description to a clear critique of and resistance to finance. (shrink)

En la vida cotidiana y el lenguaje corriente, muchas veces la idiotez remite a una falta de inteligencia o a un defecto del pensamiento. Se trata de una concepción que alcanzó gran precisión en la psiquiatría clásica y que no se halla totalmente ausente de la filosofía contemporánea. Sin embargo, a juicio de Deleuze y Guattari, el idiota constituye el personaje filosófico por excelencia. ¿En qué medida este personaje supone o permite construir una concepción alternativa de la idiotez? En realidad, (...) existen tres tipos de idiotas en la obra de Deleuze: uno que se identifica con el tonto, otro que se identifica con el loco y un tercero que ríe de la creencia en este mundo. Intentaremos ofrecer una respuesta al interrogante anterior analizando cada uno de estos tres personajes. In everyday life and common language, idiocy often refers to a lack of intelligence or a defect in thinking. This conception achieved great precision in classical psychiatry and it is not totally absent from contemporary philosophy. However, according to Deleuze and Guattari, the idiot constitutes the philosophical persona par excellence. To what extent does this persona entail or allow constructing an alternative conception of idiocy? Actually, there are three kinds of idiots in Deleuze’s work: one that identifies itself with the fool, another that identifies itself with the madman and a third that laughs at the belief in this world. We will try to offer an answer to the aforementioned question by analyzing each of these three characters. (shrink)

In the aftermath of the Spanish War, the Catalan philosopher Eugeni d'Ors and the Spanish philosopher José Ortega y Gasset offered a reading of Einstein’s theory of relativity in which discussions of unity and plurality connected their respective synthetic philosophies and nationalist projects of political and cultural analysis and reform. Besides their philosophical views, references to Einstein tracked their territorial concerns and personal circumstances in the relations between Catalonia, Spain and Europe. Einstein’s theory symbolized the saving connection between the classical (...) and the modern, Europe and the Mediterranean, and science and philosophy. In this paper I focus on the case of Ors in relation to Catalan nationalism and the project he called Noucentismeand the case of Ortega in relation to Spanish nationalism and his political philosophy in España Invertebrada. (shrink)

Inaugural lecture as Professor of Women's Studies in the Arts Faculty of the University of Utrecht, May 16, 1990.

Se analiza la importancia de Bataille en El Anti Edipo de Deleuze y Guattari, para mostrar la deuda o filiación entre la noción de “gasto improductivo” y la noción de “producción deseante”. Explicando el sentido de la primera en el marco de una economía general, se muestran afinidades entre dicha reflexión y la propuesta de D-G en AE, en relación con una lectura de la tesis marxiana sobre la identidad entre hombre y naturaleza. Se concluye con posibles inscripciones que los (...) trabajos de Bataille y de D-G pueden tener en la trayectoria del marxismo y del pensamiento contemporáneo. (shrink)

I introduce and compare Russian and Japanese notions of community and space. Some characteristic strains of thought that exist in both countries had similar points of departure, overcame similar problems and arrived at similar results. In general, in Japan and Russia, the nostalgia for the community has been strong because one felt that in society through modernization something of the particularity of one's culture had been lost. As a consequence, both in Japan and in Russia allusions to the German sociologist (...) Ferdinand Tönnies' book Gemeinschaft und Gesellschaft are frequent. In the end I associate the Japanese as well as the Russian ideas with neo-Darwinian versions of the theme of evolution as it has been developed by Henri Bergson, Gilles Deleuze, and Felix Guattari. (shrink)

Focused on manifestation, semiotics has nevertheless constantly considered its surroundings, the imaginary that makes the image and gives it meaning. The article tries to problematize this relationship. It separates the picture from its imaginary share, the image, and seeks to support its general propositions on plastic analyzes, a painting by Francis Bacon, an installation by Abdelkader Benchamma and another installation by Adrien M and Claire B. It focuses on reductions and the tipping points of the picture, where the “opening” occurs, (...) striving for a structuring of its proposals. It thus instructs both sides of the enunciation, an enunciation centered on the visible and an invisible enunciation still premeditated by the enunciation. (shrink)

Straipsnyje svarstoma galimybė, ar ritmo konceptas, funcionuojantis Gillesio Deleuze’o ir Félixo Guattari tekstuose, negalėtų padėti atsekti minties judėjimo linijų nuo filosofijos link skirtingų meno formų ir atgal. Pradedant nuo dinaminės problemų ir sąvokų kartografijos, kurią kaip tinkamą tokiems minties eksperimentams įžvelgė Anne Sauvagnargues, Jamesas M. Buchananas, Ronaldas Bogue, Stephenas Zepke, šiame tyrime siūloma sąvoka ritmas yra tinkama kaip siejamoji galimų filosofijos ir įvairių menų sankabos jungtis. Ritmas Deleuze’o ir Guattari tekstuose tampa filosofine sąvoka ir įgauna ontologinį statusą, transcenduojantį siauras filosofijos (...) ir meno apibrėžtis. Ji funkcionuoja tarpinėje teritorijoje: tarp minties, garso, žodžio ir vaizdo, meno kūrinio, filosofijos, gyvenimo. Būtent žvelgiant iš tokios ontologinės perspektyvos, ši sąvoka įgauna galią atverti ne horizontaliuosius, o vertikaliuosius, genealoginius meno kaip tapsmo aspektus. (shrink)

Šiame straipsnyje siekiama atsakyti į klausimą, kas galėtų susieti filosofiją ir vizualiuosius bei žodinius menus. Ar įmanoma ir jei taip, tai kaip įmanoma reflektuoti visus menus kaip vieno kūrybinio įvykio momentus? Siekiant atsakyti į šį klausimą, pirma, aptariamas logikos ir kūrybiškumo susikertant menui ir filosofijai susidūrimas, antra – žodžio ir vaizdo nebendramatiškumas, surastas / išrastas belgų siurrealisto René Magritte’o ir reflektuotas Michelio Foucault. Čia sugrįžtama prie klasikinio F. Niezsche’s disputo su Sokratu apie logikos ir kūrybiškumo priešpriešą ir siekiama atsakyti į (...) klausimą, kurią pusę – Sokrato ar F. Nietzsche’s – paremia šioje diskusijoje Gilles’is Deleuze’as ir Félixas Guattari. Atrodytų, kad jie suderina logiką ir kūrybiškumą, pastebėdami, kad menas nėra nei mokslinio mąstymo, nei filosofijos koreliatas ar papildas, kad trys minties formos – menas, mokslas ir filosofija – turi po nepriklausomą specifinę kryptį, Kita vertus, interpretuodamas I. Kantą, G. Deleuze’as pastebi disharmoniją tarp vaizduotės, supratimo ir proto, ir, sekdamas Antonino Artaud’o įžvalgomis, jis išskiria naują minties tipą kaip tarpinę teritoriją tarp žodžio ir vaizdo. (shrink)

La matière pensante du corps n'est donc pas une intentionnalité mentale du corps à l'instar de l'intentionnalité cognitive. La pensée n'est plus à définir à partir d'une réflexion consciente par un dédoublement du sujet et de l'objet. Car la matière corporelle produit des processus réflexifs d'intensités différents selon les types d'externalité du corps. Par externalité il faut décrire les éléments non mentaux et non interne au corps qui proviennent du monde extérieur. Le corps est soumis à son extérieur comme organisme (...) tant pour la réalisation de ses fonctions que pour la régulation des informations. (shrink)

Em maio de 1643, Elisabeth da Bohemia endereçou uma questão a Descartes que inaugurou uma Correspondência de seis anos, até a morte do filósofo. Ele dedica à Princesa o seu trabalho de maturidade metafísica (Princípios de Filosofia Primeira, 1644) e redige Paixões da Alma (1649) como um dos resultados do diálogo com a filósofa. O silenciamento dos últimos cem anos de historiografia sobre o legado de Elisabeth da Bohemia nesta troca epistolar causou distorções e, em alguns casos, lastreou o viés (...) como regra e como a história. Uma das consequências dessa distorção está na leitura de que a questão da filósofa consistiria em uma crítica ao dualismo substancial. Neste estudo busco oferecer uma interpretação da natureza da primeira questão, com o intuito de esclarecer o pensamento da filósofa e o seu papel no diálogo, de uma maneira compreensiva, sem subscrever o paradigma literário do solilóquio cartesiano, e seu viés na literatura filosófica. (shrink)

De moderne filosofie lijdt aan muziekvergetelheid. Opvallend is echter dat filosofen, wanneer ze toch aandacht schenken aan muziek, hun aandacht bij voorkeur op één bepaald genre richten, namelijk de opera. Filosofen zoals Søren Kierkegaard en Friedrich Nietzsche lieten hun gedachten over Don Giovanni, Parsifal en Carmen gaan, terwijl omgekeerd de filosofie van Arthur Schopenhauer de opera heeft beïnvloed via Wagner. Diens werk lijkt zich op het snijpunt van het grensverkeer tussen moderne filosofie en moderne muziek te bevinden. Het was zijn (...) ambitie de menselijke existentie en de menselijke geschiedenis in één panoramisch oeuvre te vatten, vanaf het primordiale begin tot en met de dramatische finale die ophanden leek: een catastrofale apotheose die een geheel nieuwe toekomst mogelijk zou maken. Dat is althans de verhaallijn van zijn meesterwerk Der Ring des Nibelungen. Aan het slot van Götterdämmerung lijkt zich een algehele verwoesting te hebben voltrokken: ‘Everything is destroyed and there is an enigmatic kind of hovering over the scene of destruction’ (Badiou 2010, p. 106), een ambivalente stemming van hoop en destructie zette Wagner op muziek. Voor Wagner is dan ook een hoofdrol in deze studie weggelegd: voor zijn muziektheoretische geschriften (waarin hij over een ‘muziek van de toekomst’ filosofeerde), maar meer nog voor de muzikale totaalkunstwerken die hij daadwerkelijk componeerde. (shrink)

The present PhD dissertation aims to examine the relation between modality and change in Aristotle’s metaphysics. -/- On the one hand, Aristotle supports his modal realism (i.e., worldly objects have modal properties - potentialities and essences - that ground the ascriptions of possibility and necessity) by arguing that the rejection of modal realism makes change inexplicable, or, worse, banishes it from the realm of reality. On the other hand, the Stagirite analyses processes by means of modal notions (‘change is the (...) actuality of what is virtual insofar as it is virtual’). In other words: to grasp what change is, one has to resort to the modal idiom of potentialities, while the fact that there is change is indicative of the fact that nature is full of modal properties. -/- Aristotle’s modal and kinetic realism finds a negative in the figure of the Megaric Diodorus Kronus. The polemical situation of Greek philosophy has indeed the dialectical advantage of not opposing the Aristotelian position to a sui generis straw man. Both in its reduction of modal judgements to temporal quantifications and in its dissolution of the reality of the state-of-being-in-motion in favour of a cinematographic view of processes, the philosophical figure of reductionist antirealism embodied by Diodorus constitutes an alternative that takes the opposite view of Aristotle’s realism. -/- The present study is structured as a discussion between these two positions. In the face of Diodorus’ antirealist challenges, Aristotle articulates modal and kinetic considerations: the answers he gives to Diodorus’ puzzles thus provide valuable insight into his metaphysics. Moreover, the examination of Aristotle’s and Diodorus’ metaphysics, because of their insight and originality, will not fail to interest the philosopher concerned with the metaphysical foundations of modern physics, insofar as the entanglement between modalities and processes is nowadays at the core of mechanics (phase spaces, path integrals, etc.). (shrink)

This paper leads us in reflections regarding the ontological status of a situation inspired by two main sources: the Zhuangzi--a multifarious compilation from Warring States China (ca. 4th c. BCE)--and José Ortega y Gasset's (1883-1955) Unas Lecciones de Metafísica (Some Lessons in Metaphysics)--the transcripts of a course on metaphysics by a Spanish philosopher of the early 20th century. Much as other ontologically subjective entities and events, situations do not preexist the intentional subject: instead, they are created alongside our act of (...) noticing. In Classical Chinese, shi , commonly rendered "propensity" and the closest the language comes to our concept of situation, denotes a dynamic process that incorporates the conscious subjective agent as well as other entities as constitutive elements. Here a situation is not reducible to the discrete phenomena and events that we can discern within a given space-time; rather, it necessitates our thinking about it to arise. These ontological reflections are important for a philosophy of action. They help us notice the role of attention in the creation of situations--as in the creation of worlds--hence the importance of understanding what the agent notices and fails to notice, what we privilege as worthy of our attention and what passes inadvertent among the world's plural affordances. The relational affordances that we actualize and reify as constituting a situation depend on what we are socialized and educated to see when looking at the world, thus situations and agents co-create one another over time. This acknowledgement is crucial to retrain our agency in order to illuminate our blind spots, overcome our uncritical certainties which generate absolutist tendencies, and move beyond fixed, reduced, and contingent corners from which to interpret the world. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

This is the Introduction to a collected volume.

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

This research attempts to throw light on and show the fundamental similarities and differences between the African and Western ethical conceptions by examining the foundation of ethics and morality in the two systems, using the Golden rule principle in African ethics and Kant’s categorical imperative in Western ethics as tools of comparative analysis. The African indigenous ethics revolves round the “Golden Rule Principle” as the ultimate moral principle. This principle states that “Do unto others what you want them to do (...) unto you”. This principle compares favourably with Immanuel Kant’s whose main thrust is found in his “Categorical Imperative”, with the injunction for us to “Act only on that maxim through which you can at the same time will that it should become a universal law.” The categorical imperative becomes for Kant, the principle of universalizability, which according to Kant, is categorical and must be equally binding on everyone. This idea of Kant, we argue, compares with the “Golden Rule Principle”. Both are rationalistic and social but the limitations of Kant which we hope to point out, make it quite insufficient as the foundation of morality. The Africans’ which is more humanistic describes morality and is better served. The main difference between the two ethical systems lies in the fact that whereas the “golden rule” starts from the self and considers the consequences on the first before others, the universalizability principle on the other hand considers the consequences on others first before self. (shrink)

We present some ideas on logical process descriptions, using relations from the DIO (Drug Interaction Ontology) as examples and explaining how these relations can be naturally decomposed in terms of more basic structured logical process descriptions using terms from linear logic. In our view, the process descriptions are able to clarify the usual relational descriptions of DIO. In particular, we discuss the use of logical process descriptions in proving linear logical theorems. Among the types of reasoning supported by DIO one (...) can distinguish both (1) basic reasoning about general structures in reality and (2) the domain-specific reasoning of experts. We here propose a clarification of this important distinction between (realist) reasoning on the basis of an ontology and rule-based inferences on the basis of an expert’s view. (shrink)

Resumen: El artículo propone una lectura de la meseta “10000 AC. La geología de la moral ” desde el punto de vista de una ontología del espacio. Nos concentraremos específicamente en el concepto de estrato. En los primeros dos apartados se mostrará que todo estrato supone aspectos materiales y semióticos. Para ello se explicitarán algunos conceptos de la geología y de la lingüística utilizados por Deleuze y Guattari. Los apartados 3, 4 y 5 se ocuparán, sucesivamente, de los conceptos de (...) substrato, epistrato y paraestrato. En la articulación de estos conceptos se juegan tres aspectos fundamentales para pensar la configuración de todo espacio actual: la territorialización, la desterritorialización relativa y la codificación/descodificación. Esta tipología de estratos da cuenta de lo diverso espacial y será estudiada a partir de algunas de las fuentes utilizadas por los autores. Se hará un énfasis especial en la obra de Pia Laviosa Zambotti, fuente crucial para comprender la tipología de estratos, como así también en ciertos aspectos del pensamiento de Jacques Monod y Jakob Von Uexküll, claves para pensar el concepto de mundo circundante en la determinación de la noción de paraestrato. Palabras clave: Estrato; Geología de la moral; Codificación; Territorialización; Espacio: The article proposes a reading of the chapter “10000 BC. The Geology of Morals ” from the perspective of an ontology of space. We will deal specifically with the concept of stratum. In the first and second paragraphs we will show that every strate is composed of both material and semiotic aspects. In order to do so we will develop some notions of geology and lingüistics used by the authors. Then, paragraphs 3, 4 and 5 will deal, succesivelly, with the concepts of substratum, epistratum and paraestratum. Three fundamental aspects of actual space are configured in the articulation of these three concepts: territorialization, relative deterritorialization and codification/decodification. This tipology of strates gives an account of spatial diversity and it will be studied through some of the sources utilized by Deleuze and Guattari. The thought of Pia Laviosa Zambotti will receive special attention since her work is an essential source of the tipology of strates. Some aspects of the thoughts of Jacques Monod and Jakob Von Uexküll will also be taken into account, especially those concerning the concept of umwelt and paraestratum. Key Words: Stratum; Geology of morals; Codification; Territorialization; Space. (shrink)

In this article I propose a semiotic investigation of images of jobs. The aim is not to analyze the social representation of the job, but to explore if there remains a present-day image of the job, and what are its historical and social conditions of existence. The problem is to study the relation between social structure and the image of the job. First, following Foucault’s studies on disciplinary society, the relation between disciplinary society and the image of labour in the (...) factory will be described. This is followed by an account of the problematic passage from disciplinary society to what Deleuze called a “society of control”. Giving particular consideration to Foucault’s theory of power/knowledge relations and Deleuze’s semiotic reading of this theory,the new social organization of jobs, activities and times will be investigated. Social structure is changing from disciplinary and striated space, such as the space of the factory, to the smooth space of dispersion, like the space of the market. The image of the job changes from the image of the workforce to the image of human capital. Finally, rethinking Foucault’s lectures on biopolitics, the relation between the market and hu- man capital will be analyzed. My hypothesis is that it is not possible to have an image of the job as human capital in the present: the concept of human capital coincides with the human being and its capability, but there is no longer any specific space for the market, given that the market permeates every space of life. (shrink)

The fundamental basis of the project concentrates upon an interactive manoeuvre involving Modern Continental Philosophy and the Postmodern Visual Arts. The primary components that structure the thesis conduct a Deleuzoguattarian "process” of action to produce a series of mechanisms designed to “open-up" a space in which to manifest a range of interpretations/translations that follow the developmentary trajectory of designated specific areas of art production. The primary aims concern the advance of the action to communicate an innovative/original set of expositions with (...) a view to both “animate" and enhance these designated perspectives. The structural framework of the project tracks through “passages'/lines of flight” that occur/result from the impact of the Deleuzoguattarian mechanisms upon chosen material - "Introduction" sets forth some guiding themes. “Tours of the Black Clock" elaborates the Nietzschean background that informs the philosophical basis of the complete project. “Electrolite”, “Where Angels Play", “Not to Touch the Earth” “Across” are sections designed to trace a number of alternative pathways through the major texts of the Deleuzoguattarian enterprise. “Becoming X" initiates a secondary movement of experimentation. “Animal Nitrate" effects “an encounter" with the work of painter Francis Bacon via the Deleuze text “Logique de la Sensation", “Time and Again" introduces and articulates a number of instances from Deleuzian film-theory “The Fountainhead” is the main section of the project which evolves a detailed process analysing the paintings of American painter David Salle “The Mirror of Enigmas" traces related Deleuzeoguattarian themes through the films of David Lynch, maintaining as a background an examination of Postmodern American culture/society. “Breaking into Heaven" returns to the more specific analysis of the late paintings of David Salle and uses the mechanics elaborated in Deleuze's book “Le Pli”. “Final Cut”/”Last Exit”/”Memorial Beach" is an attempt at a series of concluding remarks within the project divisions are resolved within a comprehensive Deleuzoguattarian structural system - evolving to be primarily defined in terms of two “active" processes/movements which engage theory and explanation, practice and application respectively, being therefore both a philosophical /academic debate while incorporating a high-level of “creative" experimentation. The first sections of the project detail an extensive series of explanatory “pathways/journeys” through the texts of Deleuze and Guattari with a view to indicating measures that can be deployed/utilized in a Deleuzoguattarian process of art/cultural analysis. Constructing the architectural pattern/”anatomy” of a series of interpretative surfaces to reflect the dimensions of the cultural material approached. The sections in the second part of the project enact a number of experimental designs, dispatching Deleuzoguattarian mechanisms in the body of the chosen cultural material. An interpretative surface is never under the influence of a single differentiated flow it constitutes the mutual boundary of numerous adjacent flows. The same interpretative surface is therefore available to be understood in as many different ways as there are adjacent flows along its fractural surface. This project is essentially a speculative enterprise, a philosophical experiment whose aim is to enhance, enlarge and intensify our “knowledge" of the area defined, through a synthesis, here labelled as a “Deleuzoguattarian process of Art analysis”. For Deleuze, thought creates what it thinks, as perception creates what it perceives. The philosophical concept does not refer to the lived, but consists through its own creation, in setting up an event that surveys the whole of the lived no less than every state of affairs Deleuzoguattarian philosophy does not establish a relationship “between” philosophy and other disciplines, other ways of making sure, but eliminates this relationship to the advantage of a type of “greater philosophy” Thought/Philosophy thinks the sufficient reason of the actual in this manner. For Nietzsche, whose enterprise constitutes the base/departure for the Deleuzoguattarian program, “the world" we know lies in our interpretation of it. However, the task of interpretation is not to discover “truth" but to “create" it. According to Nietzsche, there is no “world-in-itself, no unconditioned and stable entities that await our discovery, but a dynamic and turbulent “becoming" in which the forms we perceive are not separate from our interpretations of them Because we are ourselves part of this becoming, there is no vantage point from which it is possible to gain the absolute/unconditioned knowledge that we have imbued with the idea of “truth”. The exercise merely becomes self-reflective. However, despite this skepticism, Nietzsche realizes that the game of truth is unavoidable, so therefore he, and In consequence we, departing/initiating the pathways through this project, have to cast in the role of the philosopher who knows what he invents and invents while he knows. In Postmodern Art no style dominates. Alternatively we experience endless improvisations and variations on themes, parody/playfulness. Postmodern artists are unabashedly eclectic and call attention to it, combining traditions borrowing from rituals and myths. All the world's cultural symbols are now available in the public domain - “SANTA CLAUS IS ON THE CROSS". The Deleuzoguattarian process of art delineated is a play with the game of “truth” and not an explanation of a “whole" a description of the network of the "dynamic”/fluid nature of our transitional relationship to it. It is the flow of energy that encompasses what Deleuze/Nietzsche refer to as “the whole" A flow invokes the dynamic/fluid nature of becoming, while energy/activity implies a potentiality - the inherent capacity and growth actuated by the will to power. The flows of energy are manifested into differentiated flows within flows, “Ad infinitum” and powered by the parameters of state space - a potential i.e field defined by the characteristics of the subject flows associated Nothing exists in isolation Differentiation exists only via relations to other flows in a dynamic/non linear network of resistances. (shrink)

The concept of human ecology was introduced into Catholic pastoral documents by John Paul II, in his 1991 encyclical Centesimus annus. As an exquisitely interdisciplinary field of enquiry, human ecology involves a great many scientific, ethical and religious questions. Thus, it can be chosen as an appropriate case study in the dialogue between faith and science. After a review of the ways in which the relationships between faith and science have been addressed, an original model for their interaction is proposed. (...) Then, this new model is tested in the specific case of human ecology, as well as in that of the relationship between the God of the universe and the laws of nature. (shrink)

The collection Virtual Mathematics: the logic of difference brings together a range of new philosophical engagements with mathematics, using the work of French philosopher Gilles Deleuze as its focus. Deleuze’s engagements with mathematics rely upon the construction of alternative lineages in the history of mathematics in order to reconfigure particular philosophical problems and to develop new concepts. These alternative conceptual histories also challenge some of the self-imposed limits of the discipline of mathematics, and suggest the possibility of forging new connections (...) between philosophy and more recent developments in mathematics. This component of Deleuze’s work has, to date, been rather neglected by commentators working in the field of Deleuze studies. One of the aims of this collection is to address this critical deficit by providing a philosophical presentation of Deleuze’s relation to mathematics; one that is adequate to his project of constructing a philosophy of difference and to the exploration of some of its applications. This project developed as a result of encounters with an increasing number of researchers who have been working on the mathematical aspects of Deleuze’s work and the key role that these play in his philosophy. By bringing this work together for the first time, this collection makes an important contribution to the emerging body of work that endeavours to explore the broad range of Deleuze’s philosophy. (shrink)

‘À quoi sert la littérature?’, Deleuze opens his book on Leopold von Sacher-Masoch with a question that this paper will pose again, trying to propose an answer to it, and to put to test the methodological approach that can be obtained from that answer: what are the uses of literature and, more specifically, how could the philosopher use literature, what could be done with it? To this end, this paper will focus on Deleuze’s symptomatological conception of literature. The second part (...) of the paper will be dedicated to the reading of two novels, 1984 by George Orwell and The Circle by Dave Eggers. The novels will be put in in a relation of resonation with two concepts sketched in Deleuze’s Post-scriptum sur les sociétés de contrôle: Foucauldian disciplinary societies and control societies. These novels will be considered as signaletic material, symptomatologies of two conditions of society, from which this paper proposes to extract two types of signs: Signs of Order and Signs of Suggestion. These signs will be made react with the concepts of Foucault and Deleuze, in order to see if they can produce the ground for a therapeutic. The paper will therefore combine literary symptomatologies and philosophical aetiology, in the attempt to make them react together, Foucault and Orwell, Eggers and Deleuze, to extract and describe signs from the literary material considered that may be brought to the fore only after the consideration of the causes of the most important symptoms of discipline and control. (shrink)

This paper reflects on the relation between psychiatric institutions and political thought. Starting from the distinction made by G. de Clérambault between interpretation and passionate deliria, we aim at identifying two types of symbolic connotations in the demand for justice. Based on this, we formulate the following hypothesis: a description of the semiotic systems that include the two types allows for a differential analysis of the two distinct theologico-political structures to be carried out; they can come up against each other (...) or merge in historical institutions, but they still determine the power positions and the means of heterogeneous subjectivation. From these different perspectives, our hypothesis points to an ambiguity of the concept of « theologico-political ». (shrink)

This paper comments on Vilém Flusser’s essay on new nomadism as an epochal change. The author takes a slightly critical viewpoint of Flusser’s definition of nomadism as a practice of archaic as well as of mediacentred life nowadays and discusses the rather traditional sedentary form Flusser adopts for his composition. The author bases his critique upon questions such as: is it really the Information Revolution and not the Industrial Revolution that leads to the end of the Neolithic Age? Is it (...) only a virtual nomadism that came about in 1990 or does the epochal change concern also physical “nomadic” movement? In discussing Flusser’s essay the author points out the differences of meaning evident in Flusser’s original German text and the English translation. This leads to different possible interpretations of Flussers essay. The author closes by discussing the concepts of the idiot and the nomad. He clarifies how these concepts are relevant in a post-modern society and presents the possibility that the wisdom of idiocy is a survival strategy. (shrink)

Normal 0 21 false false false MicrosoftInternetExplorer4 La filosofía de Simondon esboza, sobre la base de las ciencias de su época, una nueva metafísica de la naturaleza que engloba los niveles materiales, orgánicos y antropomórficos. El concepto de naturaleza es objeto de una profunda renovación en ella. La naturaleza ya no aparece como un conjunto de cosas hechas, definidas eternamente por su esencia. Ella es más bien la invención de procesos de individuación encajados los unos en los otros, y los (...) cuales forman tantas dimensiones diferentes. Contrariamente al reduccionismo fisicalista que traza un mismo plano físico y determinista para todas las cosas, la naturaleza aparece en Simondon como multidimensional e inventiva. El conocimiento y la ética también son modificados por una concepción tal de la naturaleza: nosotros no conocemos y no actuamos más que participando en la naturaleza. Esta metafísica de la naturaleza es también una teoría renovada de la Participación. No estamos jamás en superposición, separados de las cosas, sino que participamos con nuestro conocimiento y nuestra acción en el movimiento íntimo de la naturaleza, en la resonancia que se establece entre sus diferentes dimensiones. (shrink)

O artigo se propõe a esclarecer a hesitante relação de Foucault com a teoria estruturalista da década de 1960 a partir da recondução histórica e política dessa questão ao debate intelectual que procurou, com maior ou menor sucesso, no modelo linguístico de Saussure, uma nova grade de inteligibilidade para as ciências humanas ciências humanas. A descrição das transformações que ocorreram no interior deste debate e o modo como elas levaram Foucault a repensar sua participação nele nos ajudam a esclarecer como (...) a simpatia explícita pelo estruturalismo do início dos anos 1960 cede lugar a uma recusa insistente de filiar-se a ele no final dessa década. This paper intends to elucidate the hesitating relation between Foucault and structuralist theory at the 1960s by recasting it, in a historical and political way, within the intellectual debate that tried to build, more or less successfully, a new grid of comprehensibleness to humanities from the linguistic model of Ferdinand de Saussure. The descritption of transformations that took place within this debate and the way they compelled Foucault to rethink his participation in it could help us to understand how explicit affinities towards structuralism in the beginning of the 1960s gives place to an insistent refusal of affiliation at the end of this decade. (shrink)