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)

How can Deleuzians make his philosophy as accessible as possible to political theorists and democratic publics? This essay provides principles to enter Deleuze's political vision, namely, to research the etymology of words, to discover the image beneath concepts, to diagram schemata using rigid lines, supple lines and lines of flight, and to construct rules that balance experimentation and caution. The essay then employs this method to explicate a fecund sentence about politics in A Thousand Plateaus and presents a case why (...) Deleuze deserves greater visibility in the political theory canon. (shrink)

This article presents a decades-long conflict in the upper echelons of postwar French academic philosophy between the self-identifying “Cartesian” Ferdinand Alquié, professor at the Sorbonne, and the “Spinozist” Martial Gueroult of the Collège de France. Tracking the development of this rivalry serves to illuminate the historical drama that occurred in France as phenomenology was integrated into the Cartesian tradition and resisted by a commitment to rationalism grounded in a specifically French understanding of Spinozism. Over the course of Alquié and Gueroult's (...) polemic, however, we nevertheless witness a shared concern to preserve philosophy from the reductive tendencies of historicism and its possible assimilation to theology. What is more, the ultimate impasse of this conflict continues to inform the most innovative projects in French thought in the wake of structuralism and the “theological turn” of French phenomenology. (shrink)

This paper examines the intersecting of the themes of temporality and truth in Deleuze's philosophy. For the ancients, truth was something eternal: what was true was true in all times and in all places. Temporality (coming to be and passing away) was the realm of the mutable, not the eternal. In the seventeenth century, change began to be seen in a positive light (progress, evolution, and so on), but this change was seen to be possible only because of the immutable (...) laws of nature that govern change. It was not until philosophers such as Bergson, James, Whitehead – and then Deleuze – that time began to be taken seriously on its own account. On the one hand, in Deleuze, time, freed from its subordination to movement, now becomes autonomous: it is the pure form of change (continuous variation) that lies at the basis of Deleuze's metaphysics in Difference and Repetition (and is explored more thematically in The Time-Image). As a result, on the other hand, the false, freed from its subordination to the form of the true, assumes a power of its own (the power of the false), which in turn implies a new ‘analytic of the concept’ that Deleuze develops in What Is Philosophy? (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)

Throughout his cinema studies, Deleuze tends to define and to praise the cinematic in opposition to the theatrical. Cinema, for Deleuze, retains the potential to automate our perception of its images. Further, this capacity allows the cinema to profoundly disrupt the habitual patterns of its audience's thought. This article asks, however, whether Beckett's theatrical practice can be productively analysed through concepts derived from Deleuze's work on the cinema. In Beckett's Play and Not I, we see theatrical productions that strive for (...) and attain an automation of their audience's perception. While this theatrical experience is not identical to the ‘camera-consciousness’ that Deleuze observes in film, it can be understood through Deleuze's (Bergsonian) processes of habitual and attentive recognition, their failure and their subsequent transformation into passages of crystalline description. Finally, we can begin to elaborate the novel idea of a ‘crystal-theatre’; a theatre where the audience are entrapped within its construction, caught in a loop or circuit that runs between and complicates the realms of reality and illusion, immediately lived experience and artistic representation, the actual and the virtual. (shrink)

In post-war France we have witnessed an upsurge in philosophical and quasi-philosophical literature, much of it nonsense and all of it radically politicised. What is the explanation of this? I advance the thesis that the post-1968 literary scene expresses a bid for a new kind of social membership, and that it is the hunger for membership that explains not only the intellectual structure of this literature but also its worldwide influence. I also suggest that there survives in this literature both (...) an intellectual agenda and a historical memory, in which the war-time experience of France is allimportant. In the course of my argument I try to explain the radical difference between analytical philosophy, which permits its practitioners to have unorthodox (i.e. non-left-wing) political views, and a particular post-war French intellectual tradition, which has until recently allowed no such deviation from its tacit norms. (shrink)

With Jean-Clet Martin's book, Une intrigue criminelle de la philosophie: lire la Phénoménologie de l'Esprit de Hegel, the latter emerges as a philosopher of (negative) difference and (infinite) repetition, one of the first to inject Being with becoming, in other words, as the brother-enemy that Deleuze had been waiting for and with whom he did establish complex relationships that cannot be conveniently summarized in his Nietzschean moment. In view of his novel and striking reading of Hegel, Martin is invited by (...) the interviewer to defend his suggestions that the negative and the dialectic need not turn into spoilers of the joys of Spinoza and the affirmations of Nietzsche; that Hegel's anti-humanism can be counted as a variation on Deleuze's own; that Hegel did anticipate Deleuze in the distinction between becoming and history and in the separation of the virtual event from the actual state of affairs; that Hegel's death of God ushers in, ahead of Nietzsche's Zarathustra, the death of man in the ‘overman’; and that, despite their infinite proximity, Hegel and Deleuze are separated by two incompatible images of thought that make the difference between them a difference of nature and not only a difference of degree. (shrink)

This paper argues that Chris Marker's 1982 film Sans Soleil derives its affective force from doublings and ‘faces’ of horror and beauty that reveal a twofold synthesis of actual and virtual. While a focus upon the material, ever in relation to transient yet lingering sensations, cannot discharge the power and force of the film, this paper endeavours nevertheless to assess and evoke Marker and Deleuze's own interrogative methods that thoroughly explore, in the manner of a revelatory ‘schizoanalysis’ or empiricism, molecular (...) and variable operations beneath our ‘molar’ structures and organisations. As Sans Soleil's voiceover states, ‘If they don't see happiness in the picture, at least they'll see the black’, a provocative remark that invokes indefinable singularities and the darkness of a wound, cracking of time and splitting of self in film, life and death. Considerations of death, consciousness and subjectivity extend this paper's examinations. (shrink)

In 1967, after a talk Deleuze gave to the Society of French Philosophy, Ferdinand Alquiéé expressed concern during the question and answer session that perhaps Deleuze was relying too heavily upon science and not giving adequate attention to questions and problems that Alquiéé took to be distinctively philosophical. Deleuze responded by agreeing with Alquiéé; moreover, he argued that his primary interest was precisely in the metaphysics science needs rather than in the science philosophy needs. This metaphysics, Deleuze argues, is to (...) be done ‘‘in the style of Whitehead’’ rather than the style of Kant, and in developing this metaphysics Deleuze draws heavily on Spinoza. The present essay examines this Deleuzian-Spinozist metaphysics done in the style of Whitehead, the ‘‘metaphysics science needs’’, drawing on the writings of David Hume and Bruno Latour in the process. This discussion will in turn enable us to situate Deleuze's metaphysics in relation to contemporary debates concerning speculative realism and correlationism, and especially Quentin Meillassoux's critique of the latter. Our conclusion will be that the kind of metaphysics Deleuze pursues is neither correlationist nor straightforwardly realist, but rather charts a course between realism and anti-realism. (shrink)

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

Michel Tournier's novel Friday is the subject of an important essay of Deleuze's, in which he presents the concept of the ‘a priori Other’. Alice Jardine and Peter Hallward have offered critiques of Deleuze via readings of this essay, but neither takes into consideration the full significance of Tournier's novel or Deleuze's commentary. Jardine and Hallward provide divergent and only partial perspectives on Deleuze. If there are several Deleuzes, each defined by a critical point of view, there is also a (...) single Deleuzian problem that informs the Tournier essay and Deleuze's thought as a whole. (shrink)

Many interpretations have been put forward for Walter Benjamin's short essay “On the Concept of History” (Benjamin 2003), an aphoristic text written in 1940 in Paris under the Nazi occupation. Most...

: This article compares translation and commentary practices surrounding the texts associated with French feminism with those of contemporary French women philosophers more generally. Many of the latter, discussing the history of philosophy, ask questions such as "How do texts play against the means they supply themselves?" and "How are philosophical forces, and the institutions of commentary, countered, destabilized, deregulated?" Deutscher asks what institutional means are available to understand this work as innovative philosophy, and to what extent these projects can (...) usefully be analyzed as the gestures of women in philosophy. (shrink)

Deleuze’s reversal of Platonism shifted the traditional emphasis on thinking that which participates in a concept to that in which a claim to participation occurs. The first part of this article presents a reading of this reversal that highlights the implications of Deleuze’s ontology for his non-ontological account of participation, highlighting how this ontology builds on aspects of Plato’s philosophy recovered from beneath the later Platonic tradition of philosophy and supports Deleuze’s account of the rival claims of philosophy and opinion (...) to participate in thought. The second part outlines the difficulties presented by philosophy’s constitutive participation in friendship, love, and rivalry for it to be able to achieve its distinctive task of creating concepts that defeat opinion’s rival claims to address the problems that present themselves to thought. (shrink)

As is well known, Deleuze says in Difference and Repetition that ‘the task of contemporary philosophy has been defined: to reverse Platonism’. This task is then continued in Logic of Sense, through its discussion of Stoic logic. Deleuze says there that ‘the Stoics are the first to reverse Platonism’. And, at the same time, in the big Spinoza book, we see Deleuze present Spinoza's ‘anti-Cartesian reaction’. This anti-Cartesian reaction is equivalent to the reversal of Platonism. We can say then that (...) the task of the reversal of Platonism unifies the three books Deleuze published at the end of the Sixties. The thesis of this essay will consist in arguing that ethics we find in Logic of Sense – which we can call ‘the ethics of the univocity of being’ – completes, in a constructive way, Deleuze's early project of the reversal of Platonism. The ethics centres on the idea of counter-actualisation. We shall argue that there are four senses of counter-actualisation. Here is a summary of the four senses of counter-actualisation: beatitude against resentment ; caring for the sense against neglecting the sense ; the embodiment of plural hopings and rememberings against the embodiment of one hope and one memory ; and ‘just enough’ against ‘too much’. Yet, as we shall see, there is a fifth meaning of counter-actualisation, the ultimate meaning. The ultimate sense of counter-actualisation is universal freedom. This is where my essay will end. (shrink)

Engaging with the account of pathic subjectivation developed by Félix Guattari, this article explores the ways in which his thinking about the production of subjectivity takes up and transforms the concept of the pathic dimension of experience that emerges from the rich tradition of existential-phenomenological psychiatry and the thematisation of contact it entails. Explicitly foregrounding the link made within that tradition between aesthetics and existence, this article considers the origins of Guattari’s conception of pathic subjectivation in his work on Proust, (...) the experimental understanding of the semiotic transformations of sensory experience it entails and the practical role it plays in catalysing the creative emergence of new modes of existence. (shrink)

This article builds upon concepts of simultaneity and coexistence offered by Bergson and Deleuze to explore new approaches to cinematic audibility. Recognised film theory terms such as synchronisation and synchresis approach sonic time from the transcendent distance of audioviewership. This essay moves cinematic experience inward to ask what is audible within the film world itself. Simultaneity and coexistence penetrate cinematic time to express a multiplicity of audible layers, threads or lines that occur in relation to image-events. The essay both advances (...) and critiques Bergson's and Deleuze's conceptions of time, making it relevant to both film studies and metaphysics. (shrink)

Have we reached what Alexander Galloway dismissively refers to as ‘peak Deleuze’? In this essay, I argue that the arrival at end times – with the sense of mass extinction and philosophy's exhaustion – is indeed a moment of ‘peak Deleuze’, but that this gesture of exhaustion is already implicit in A Thousand Plateaus. Recognising the limits and seduction of a text is never as easy as it seems; every attempt to break up with Deleuze and Guattari, though necessary, is (...) fraught with a whole series of difficulties that were already visible in A Thousand Plateaus's own relation to its outside. (shrink)

What difference does the philosophical revolution of Deleuze and Guattari make to our understanding the early Christianity? In honour of the fortieth anniversary of publication of A Thousand Plateaus, this article argues that the discipline of Christian origins is currently premised on a historically condemned mode of subjectivity, that of subject/object metaphysics. The philosophical processes found in A Thousand Plateaus are particularly apposite to the current dilemma of Christian origins: as a rhizome-book consisting of plateaus, machines, singularities and non-representational concepts, (...) this book models new modes of thinking that can help the discipline rejuvenate itself and accomplish new tasks which are presently beyond its reach – for Deleuzian philosophy privileges the virtual over the actual, becoming over being, machinic transformations over static structures, and semiotics over linguistics. (shrink)

In a conference from 1987 on ‘What is the Creative Act?’, Deleuze argues that a fundamental and mysterious affinity subsists between the work of art and the act of resistance. Starting from this statement, Agamben in his echoing text ‘What is the Act of Creation?’ presents an idea of resistance co-essential to power itself. Each power, in other words each possibility for human beings of doing something, is connected to their impotence, not necessarily understood as total absence of power, but (...) as potential to not-do. Therefore, in the very creative act one detects something that resists and opposes the critical possibility of a retreat, of an emptiness that is itself a form of potentiality. The essay picks things up from here. The act of resistance, described in terms of dynamis, as power which is always in contact with its power-not-to, is identified as the core element of modern cinema images, notably in Italian neorealism. (shrink)

In the philosophy of Deleuze and Guattari, nomadism works as an approach to the creation of concepts that favour space: geophilosophy. Nomadism is the way in which one crosses the plane of immanence and the many becomings; in fact, nomadism exceeds the ancient rhetoric of the subject because its disposition belongs to the multiple and to the environment in which it can unfold. In this sense, the disorientation in the present appears less disturbing; it is rather a shift in perspective, (...) certainly difficult to understand in the time in which the mega-machine of power is becoming more and more persecutory. Lines of flight, movements of slippage, becoming-woman, becoming-child, becoming-minor refer not only to the exercise of criticism, but also to the production of assemblages that intend to resist the present. (shrink)

In this paper, I seek to extract what I call an empiricist mode of existence through a combined reading of two under-researched vectors of Gilles Deleuze's thought: his ‘transcendental empiricism’ and his ‘affirmative naturalism’. This empiricist mode of existence co-positions Deleuze's empiricism and naturalism as pertaining to a stylistics of life which is ontologically experimentalist, epistemologically open, and immanently engaged in the world. That is, a processual praxis of demystification and organising encounters towards joy.

In conversation with Didier Debaise, this piece thinks transversally across Nature as Event and Speculative Empiricism to explore some of the key stakes in his philosophy, namely: the relationship between the task of thinking a speculative empiricism and the problem of the bifurcation of nature. Engaging with the themes of nature, abstraction, dualism, pragmatism, and the role of stories in dramatizing our sensitivity to the world, the conversation develops Debaise’s contribution to theorising alternative modes of knowledge and experience capable of (...) admitting those infra-sensible, inaudible, or imperceptible qualities of events. Distinctly, Debaise introduces here the problem of ‘predatory abstractions’ as one way to understand the problem of bifurcation. Ethically, the question of predatory abstractions makes new demands on the social sciences: to story new abstractions capable of deepening our experience of nature. (shrink)

The paper attempts to demonstrate; drawing on the recent experience of Philippine Catholic faith; that the relevance of the Church in the postmodern age is as much a political choice as it is a tolerance of the nihilistic mood of the times. It is a political choice insofar as the Church has nowhere to go in the postmodern except through asserting its relevance; which necessarily means homing in on the growing irrelevance of the organized faith; amidst the secular and liberal (...) currents of the present; in order to thresh out strategic directions for its continued survival; which is recently challenged by stories of sex scandals involving its clergy. The postmodern age also compels the Church to come to terms with the nihilism that accompanies what Nietzsche saw in his own time; and still true today; namely; the ‘death of God’. The ‘death of God’ continues to be a pervasive force behind the historical reaction of the faith toward the secularisation of the modern world; in terms; for instance; of the rise of today’s conservative attitude of Roman Catholicism; which can be considered a throwback of the earlier papal orthodoxy that looked down on temporal powers as a disguised evil. This conservatism entails a certain practice and belief in the purity of the faith and the sacred over and against the secular and the profane. It ignores the actual and objective distinctions between the temporal and the sacred; which betrays a form of nihilism; that is; the forced oblivion of the real ambiguity and the paradox that inform the distinction between the secular and the sacred. This kind of nihilism connotes that no distinction can be tolerated at the expense of the sacred; while certain strategic compromise with the secular in the guise of advancing the aims of faith are tolerated if only to allow for the full maturity of the regime of the sacred. (shrink)

This introductory essay argues that it is a mistake to represent Australian feminist philosophy as a kind of discourse theory that is “downstream” of the French post-structuralists or North American postmodernists. Starting with the local—and the specifically Australian modes of racial exclusion, in particular—and exploring some of the byways of philosophy, what we encounter is a range of ontological, ethical, and political models that allow a reconfiguration of self, community, and social change.

This paper reflects on the problems of cross-cultural interpretations and translations analysing how these are rooted in theories and philosophical assumptions. Inquiring the concept of philosophy per se, the paper discusses key passages of Heidegger and the related problem of 有 and 無. The conclusion is that to translate such terms, it is necessary to revise the coercive onto-theological assumptions of metaphysics. This can trigger a process of re-grounding grounds with the consequent possibility of language transformation, which, in turn, activates (...) new relations between cultural diversities. Thus, philosophy itself becomes an eminently comparative dialogue between cultures. Without setting a single method for all these problems, the paper argues that comparisons themselves call for necessarily different methodological approaches. Hence, whilst Daoism helps to illuminate these issues defining one of the possibilities that a philosophy of comparisons entails, this same reasoning opens a way for another reading of the Daodejing. (shrink)

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of the (...) values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. (...) Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries. In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences. (shrink)

Starting from the famous statement by Deleuze and Guattari in What Is Philosophy? that ‘[i]mmanence can be said to be the burning issue of all philosophy’, this article explores their claim of an ontology of immanence and/as relational ontology in quantum terms. The theme of this special issue allows for a rereading of the terminology of different/ciation, which Deleuze developed in ‘The Method of Dramatization’ and Difference and Repetition, and I here relate it to the question of consistency of the (...) plane of immanence, such as it is emphasised in the later work of Deleuze and Guattari. The article exemplifies the significance that the early issue of ‘dramatization’ as different/ciating passage has on an adequate understanding of both ‘immanence’ and ‘becoming’, and it shows their in/seperability for a relational ontology as onto-ethology. By making the Deleuze-Guattarian immanence resonate with Barad's agential realism, the article zooms in on the specific quality of the ‘passage’ in order to do justice to the claim of a ‘mature’ philosophy that thinks immanence as immanent only to itself. (shrink)

Eric Voegelin’s writings on the historical development of the concept of race in the early 1930s are important to philosophy today in part because they provide a model upon which scholars can further integrate modern philosophy with the critical philosophy of race. In constructing his history, Voegelin’s methodological orientation depends on the centrality of both Kant’s work and the problem of the mind–body union to the concept of race. This essay asks how one might hold these premises if Kant seems (...) to reject the dominant approach to the mind–body union in the mid-eighteenth century, physical influx, and then go on to publish several essays on race that do not thematize that doctrine in any way. I argue that Kant’s racial union of mind and body cannot be understood as an interaction in space, as his contemporaries had presumed. Rather, the union must be approached as a repetition in time. In this way, Kant’s four racial categories are not merely a part of the mind–body problem, but instead each is a veritable mind–body union. This permits the conclusion that ‘race’, as Kant understood it, is a viable solution to the mind–body problem. (shrink)

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 thesis offers a naturalist revision of Alain Badiou’s philosophy. This goal is pursued through an encounter of Badiou’s mathematical ontology and theory of truth with contemporary trends in philosophy of mathematics and philosophy of science. I take issue with Badiou’s inability to elucidate the link between the empirical and the ontological, and his residual reliance on a Heideggerian project of fundamental ontology, which undermines his own immanentist principles. I will argue for both a bottom-up naturalisation of Badiou’s philosophical approach (...) to mathematics and a top-down naturalisation. Articulating my particular understanding of what realism and naturalism should commit us to, I propose a creative fusion of Badiou’s attention to metamathematical results with a structural-informational metaphysics, proposing a ‘matherialism’ uniting the more daring speculative insights of the former with the naturalist and empiricist commitments motivating the latter. (shrink)

There exist two equally prominent, though seemingly divergent metaphilosophical viewpoints. One takes philosophy to be an essentially revolutionary process. The other sees philosophy as a constructive, collaborative enterprise that seeks increased rigor and consensus. Recent debate in the philosophy of language regarding the relationship of particular languages to the general capacity for language reveals an illuminating structural analogy with these divergent metaphilosophical trends. While neither debate is settled herein, regardless of their eventual determinations, it is concluded that there is little (...) reason to suppose that philosophy will some day become a science, at least not in any metaphilosophically meaningful sense of the phrase. (shrink)

This essay attempts to contextualize the importance of Wang Yangming’s 王陽明 philosophy in terms of world philosophy in the manner of Goethe’s innovative plan for “world literature” (Weltliteratur). China has the long history of philosophizing rather than non-philosophy contrary to the glaring and inexcusable misunderstanding of Hegel the Eurocentric universalist or monist. In today’s globalizing world of multicultural pluralism, ethnocentric universalism has become outdated and outmoded. Transversality, which is at once intercultural, interspecific, interdisciplinary, and intersensorial, is a far more befitting (...) response than universality. In this context, what is focused and emphasized in Wang’s world philosophy is mainly fourfold. First, there is the unity or circularity of knowledge and action, that is, knowledge is the beginning of action, and action is the consummation of knowledge. Second, sincerity is the moral soul of Sinism as it is the enabling act of making perform all other virtues, including ren 仁. Third, in Sinism, including Wang’s philosophy, there is no Cartesian dualism in that the mind and the body are inseparable soulmates. Fourth, if ethics is prima philosophia, then geophilosophy is ultima philosophia to sustain and perpetuate all life-forms on earth (geo). (shrink)

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

Philosophy has four forms: wonder, faith, doubt and scepticism. These are not separate categories, but separate ideal possibilities. Modern academic philosophy has fallen, for several centuries, into an error: which is the error of supposing that philosophy is only what I call doubt. Philosophy may be doubt: indeed, it is part of my argument that this is undeniably one element of, or one possibility in, philosophy; but doubt is only one of four points of the compass. In this essay I (...) indicate the nature of each point of the compass as it has been found in the history of philosophy. (shrink)

When is the future? Is it to come or is it already here? This question serves as the frame for three further questions: why is utopia a bad concept and in what way is fabulation its superior counterpart? If the object of fabulation is the creation of a people to come, how do we get from the present to the future? And what is a people to come? The answers are that the future is both now and to come, now (...) as the becoming-revolutionary of our present and to come as the goal of our becoming; utopia is a bad concept because it posits a pre-formed blueprint of the future, whereas a genuinely creative future has no predetermined shape and fabulation is the means whereby a creative future may be generated; the movement from the revolutionary present toward a people to come proceeds via the protocol, which provides reference points for an experiment which exceeds our capacities to foresee; a people to come is a collectivity that reconfigures group relations in a polity superior to the present, but it is not a utopian collectivity without differences, conflicts and political issues. Science fiction formulates protocols of the politics of a people to come, and Octavia Butler's science fiction is especially valuable in disclosing the relationship between fabulation and the invention of a people to come. (shrink)

This paper argues that it is problematic for the future of Deleuze studies that it is difficult if not impossible to answer the question ‘what is the right thing to do?’ from a Deleuzian perspective. It then argues that one of the key reasons Deleuze studies has made limited progress in this area is its over-emphasis on desire and the corresponding tendency to extrapolate ‘ought’ from ‘is’, which as Hume showed is a category mistake. It proposes that to develop a (...) workable ethical discourse from Deleuze's work we need to rethink how we read his work and approach it afresh. (shrink)

This essay looks at Fassbinder's Berlin Alexanderplatz to trace the film's transformation of a mechanistic scientific discourse into affective indeterminacy. Through patterns of repetition of a key event, the film considers its protagonist as a complex web of constantly shifting forces – a network of biological, social, political and semiotic flows coalescing in a body that exists in a state of perpetual oscillation between force and mutilation, ecstasy and pain. The role of physics and other materialist discourses in the film (...) is thus not to fixate subjectivity, but rather to provide a passage into its affective transformations and the intense desubjectification that results. (shrink)

In On Touching Derrida locates Jean-Luc Nancy (and, briefly, Gilles Deleuze) within a tradition of haptic ethics and aesthetics that runs from Aristotle to the present. In his early work on Husserl, Derrida had already claimed that phenomenology's commitment to the genesis of sense and the sensible is at one and the same time a commitment to pure and rigorous philosophy at the same time as it threatens to over-turn the primacy of conceptuality and cognition.Whereas Nancy (and those other figures (...) whom Derrida cites, such as Merleau-Ponty) express a faith in a return to the sensibility of flesh, Derrida presents his own work as manifestly more cognisant of the necessary distance between flesh and sense. Another ‘approach’ to the haptic is suggested by Gilles Deleuze, whose work Derrida locates within phenomenological presence, despite Deleuze and Guattari's trenchant rejection of ‘the lived’ and the human organism that inevitably subtends any discussion of the relation between sensibility and sense. Rather than decide for or against this border between flesh and cognition, between post-deconstruction and deconstructive rigour, this essay examines this curious border of touch between philosophy and sensibility, and does so by referring to William Blake's problem of returning the signs of sense to the sensibility of the hand. (shrink)

Eternal return is the paradox that accounts for the interplay between difference and repetition, a dynamic at the heart of Deleuze's philosophy, and Blanchot's approach to this paradox, even and especially through what it elides, further illuminates it. Deleuze draws on Blanchot's characterisations of difference, forgetting, and the unlivable to depict the ‘sense’ produced via eternal return, which, for Blanchot, is where repetition implicates or ‘carries’ pure difference. However, for Deleuze, difference and the unlivable are also developed by the living (...) repetition or ‘contraction’ of habit, which results in his distinctive characterization of ‘force’, ‘levity’, and sense in eternal return. (shrink)

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

Part of a series on the question of what is the good life, the essay is structured as a montage. Part 1 contests the received notion that death is exterior to the work of Deleuze. To this end, it gathers together a telegraphic collection of examples – ‘corpses’ in his corpus – that invariably show up whenever the question is raised. Part 2 attempts a Deleuzian move: it puts death to work. If death is not nothing, it argues, it must (...) be productive of something absolutely new. Drawing upon Blanchot's seminal essay, ‘The Two Versions of the Imaginary’, it makes the case that this creation is the cadaver: the first time-image. (shrink)