This essay examines Gaspar Noë's film, Enter the Void, in light of the work of both Gilles Deleuze and Alain Badiou. Arguing that the film shows to viewers the 'void' that separates subjects from objects, the essay also considers Noë's film in the light of drug literature and the altered states induced by cinema and describe by Anna Powell. Finally, the essay proposes that Enter the Void is a work of 'unbecoming' cinema, which in turn points to expansion of cinematic (...) form through the use of digital technologies. (shrink)

This paper mounts a philosophical defence of Peter Shaffer's 1973 play Equus by interpreting it from three perspectives: that of Freud, Jung, and Deleuze and Guattari. The latter's concept of becoming-animal is offered as a leading perspective which reveals the deep philosophical significance of the drama, belying the claims of those critics who have dismissed it as bogus or banal. This interpretation also allows Equus to be seen as an exemplary illustration of what Deleuze and Guattari mean by their intriguing (...) concept of becoming-animal, and throws fresh light on this fascinating but difficult notion. (shrink)

Understanding the exact nature of Deleuze's debt to Kant forms a large part of contemporary Deleuzian scholarship, a project made all the more urgent since the publication of Meillassoux's critique of correlationism in 2007. These Kantian readings present Deleuze as someone who continues Kant's transcendental project by reconsidering the nature of ‘immanent critique’. Immanent critique is no longer seen here as part of the critical enquiry into the possible conditions of experience, but as a staging of an encounter with the (...) genetic principle constituting these conditions, the real condition common to both the human subject and the world in which he or she lives. Such is the implicit demand of genetic recasting: that critique in its immanent form is something we can experience and learn. Presented with this demand, this essay addresses the problem of staging this immanent form of critique. It looks to Deleuze's essay on the work of Samuel Beckett, ‘The Exhausted’, to suggest a possible site for such an encounter with constitutive principle. Specifically, in Deleuze's discussion of … but the clouds … it finds a theory of the image, which can be understood in genetic terms, as a theory of the virtual. Thus the essay puts forward the thesis that Beckett, in constructing the image through the exhaustive process, recreates the virtual plane, in its openness and flux. (shrink)

In Coldness and Cruelty, Deleuze remarks that masochism may be reflected on from three perspectives: as a pleasure–pain alliance, as an enactment of humiliation and slavery, and as a consideration of the enslavement of contractual relations. Later Deleuze and Guattari consider masochism in terms of an ontology of desire – in terms of virtuality rather than extensity. I argue that while the actualisation of pain might be considered secondary, and is oftentimes portrayed as incidental in popular depictions, it also constitutes (...) the exhaustive/exhausted and refrain functions of masochism so that the masochist might be thought of as the figure of exhaustion. (shrink)

The COVID-19 pandemic redefines how we think about the body, physiologically and socially. But what does it mean to have and to be a body in the COVID-19 pandemic? The COVID-19 pandemic offers data scholars the unique opportunity, and perhaps obligation, to revisit and reinvent the fundamental concepts of our mediated experiences. The article critiques the data double, a longstanding concept in critical data and media studies, as incompatible with the current public health and social distancing imperative. The data double, (...) instead, is now the presupposition of a new data entity, which will emerge out of a current data shimmer: a long-sustaining transition that blurs the older boundaries of bodies and the social, and establishes new ethical boundaries around the activity and mobility of doing nothing to do something. The data double faces a unique dynamic in the COVID-19 pandemic between boredom and exhaustion. Following the currently simple rule to stay home presents data scholars the opportunity to revisit the meaning of data as something given, a shimmering embodied relationship with data that contributes to the common good in a global health crisis. (shrink)

This article revisits Krzysztof Kieślowski's films in light of Gilles Deleuze's writings on cinema. Its central argument is that, while Kieślowski's films register what Deleuze calls exhausted life, or la vie épuisée, they also offer an affirmative response to exhaustion. Deleuze's articulation of exhaustion in the context of film emerges first in Cinema 2: The Time-Image, where the term is posited as the denial of life's capacity to transform itself. In the context of Kieślowski's films and the communist milieux from (...) which they emerge, exhaustion as a film-philosophical concept acquires a socio-political specificity otherwise lacking in Deleuze. Kieślowski's films thus provide the basis for reading exhaustion as an affective correlate of what Deleuze famously calls the “crisis of the action-image”. Stressing Kieślowski's resistance to the hegemony of exhaustion – and what the director calls a “world without representation” – this article emphasizes films such as From the City of Łódź, The Scar, Camera Buff, Three Colors: Red. Reading Kieślowski and communist Poland's repressive socio-political context in light of the Deleuzian sense of exhaustion vivifies the affective dimension of the director's oeuvre. Surveying the director's earlier documentary work, his decision to transition to fiction, and his reflections on ethics and politics, this article concludes by arguing for the generative, life-affirming character of Kieślowski's cinema of exhaustion. (shrink)

The aim of the paper is to demonstrate that the concept of Eiendommelighed in Kierkegaard has a considerable philosophical weight, although it figures only marginally. It is emphasized that Kierkegaard—well ahead of the deconstruction of community in contemporary philosophy—creates a concept by which the complicity of singularity and community becomes evident. The gist of the concept is an indistinction between the proper and the improper. Eiendommelighed is that by which singularities, or neighbors, are called into the inappropriability of their ownmost (...) being. This call is then recalled between neighbors who in this way form an (im)proper community. (shrink)

:This article outlines three possible ethical injunctions underlying three different educational projects related to the self: “become what you are”, “be what you are”, and “be what you become”. While differing on many levels, these three injunctions all assume connections between self, education, and some form of determinism and/or developmentalism. Although relatively autonomous, determinism and developmentalism are often linked together in the sense that they both presuppose that function precedes form, determining in advance how something ought to develop, mature, or (...) change. As an alternative, the essay concludes with a parodic fourth injunction which suspends the relationship between self, education, and determinism and/or developmentalism: an injunction to be “less than you are.”. (shrink)

In response to the growing emphasis on learning outcomes, life-long learning, and what could be called the learning society, scholars are turning to alternative educational logics that problematize the reduction of education to learning. In this article, we draw on these critics but also extend their thinking in two ways. First, we use Giorgio Agamben and Gilles Deleuze to posit two educational logics—tinkering and hacking, respectively—that suspend and render inoperative learning logics, expectations, and evaluative metrics. Second, we argue that contemporary (...) artists and designers such as Katerina Kamprani and Grupo de Arte Callejero have much to offer educational philosophers and theorists interested in practices of suspension. In conclusion, we suggest ways in which educators can tinker with and hack into the curriculum by playing with the quintessential embodiment of learning: the test. (shrink)

Recent European policy has seen a shift from a concern with lifelong learning in the Lisbon Strategy to research and innovation in the Horizon 2020 programme. Accordingly, there has been an increased policy focus on the researcher who, like the lifelong learner must be entrepreneurial, adaptable, mobile, but who must also find new ways in which to develop and deploy her skills and competences and smart solutions to current problems in order to ensure sustainability. The subject position of the researcher, (...) therefore, is not a figure distinctive to the university today, but rather one required of us all. For the excellent researcher in the university, resources exist to enable her to identify those aspects of herself that are in need of development in order to keep all aspects of her personal and professional well-being in balance, often drawn from the field of psychology. Here, rather than analysing directly the ways in which the researcher is addressed by such devices, we focus on the common experience of being in the university today. In everyday conversation, we do not describe ourselves as entrepreneurial, innovative, leading, etc., but more often as tired, stressed and not feeling at home there. Rather than taking these as impediments to productivity and aspects of ourselves requiring psychological strategies, the educational aspects of these are explored in relation to the figure of the studier, as developed from Giorgio Agamben by Tyson Lewis. The shift of discourse from lifelong learning to innovation and research in recent policy is seen to effect a further desubjectivation, a division of ourselves from ourselves. (shrink)

Today it would seem that being fatigued is a fairly common physical and psychological effect of educational systems based on an increasing demand for high-yield performance quotas. In higher education, ‘publish or perish’ is a kind of imperative to perform, perform better, and perform optimally leading to an overall economy of fatigue. In this paper we provide a critical theory of what we are calling the ‘fatigue university.’ While highlighting the negative costs of fatigue, we also provide a philosophical distinction (...) between tiredness and exhaustion that disrupts the biopolitics of fatigue from the inside. To do so, we turn to Gilles Deleuze and Giorgio Agamben whose writings on exhaustion point to its educational importance. Indeed, it is through the very ‘illnesses’ of exhaustion that the biopolitics of research can be problematized and opened up for new configurations. (shrink)

This thesis explores the restoration and cultivation of mutually constitutive relationships between technique and identity. I begin by establishing the framework of practice that will be used throughout the thesis, in which I define practice by the methodological conditions of open-endedness, repeatability, intuition, situatedness and autonomy. I critique the practices of classical vocal pedagogy, the field of my own training and one about which critical scholarship is distinctly lacking. I argue that these practices effect a violentseparation between technique and identity (...) by means of the fetishisation of technique, ideologies of transcendence, structural whiteness and the reification that structures spaces of training and practice. I establish a theoretical framework, grounded in the work of Ben Spatz, for understanding the relationships between the repetition and sedimentation of technical knowledge and the always ongoing formation of identity, and explore the defetishisation of technique and the objects and practices in which it is encoded both in the university’s practice-as-research context and in the work of two artists and collaborators, Ragnar Kjartansson and Monia Sander Haj-Mohammed. Grounded in an intertextual reading of philosophies of immanence, philosophical pragmatism and feminist epistemology, I articulate the notion of situational emergence in processes of technical development and explore the broader scope and significance of lifelong transformation through technique. With this basis, I give an account of the works in the portfolio, exploring methodologies of defetishisation and situated making, and highlighting the ways that forms emerge in and through durational processes that are always specifically situated in time and place. (shrink)