The role of mathematics in the development of Gilles Deleuze's (1925-95) philosophy of difference as an alternative to the dialectical philosophy determined by the Hegelian dialectic logic is demonstrated in this paper by differentiating Deleuze's interpretation of the problem of the infinitesimal in Difference and Repetition from that which G. W. F Hegel (1770-1831) presents in the Science of Logic . Each deploys the operation of integration as conceived at different stages in the development of the infinitesimal calculus in his (...) treatment of the problem of the infinitesimal. Against the role that Hegel assigns to integration as the inverse transformation of differentiation in the development of his dialectical logic, Deleuze strategically redeploys Leibniz's account of integration as a method of summation in the form of a series in the development of his philosophy of difference. By demonstrating the relation between the differential point of view of the Leibnizian infinitesimal calculus and the differential calculus of contemporary mathematics, I argue that Deleuze effectively bypasses the methods of the differential calculus which Hegel uses to support the development of the dialectical logic, and by doing so, sets up the critical perspective from which to construct an alternative logic of relations characteristic of a philosophy of difference. The mode of operation of this logic is then demonstrated by drawing upon the mathematical philosophy of Albert Lautman (1908-44), which plays a significant role in Deleuze's project of constructing a philosophy of difference. Indeed, the logic of relations that Deleuze constructs is dialectical in the Lautmanian sense. (shrink)

This paper asks how we find our way in the hitherto unknown. In search of an answer, the author returns to the three Critiques of Immanuel Kant, noting especially their grounding in the geometric mode of (re)presentation and the thingification processes connected therewith. It is argued that Kant's choice of metaphors in effect makes him more of a geographer than of a philosopher. To understand the taken-for-granted of thought-and-action, the time has therefore come for the writing of a fourth volume (...) entitled A Critique of Cartographical Reason. The focus must there be on the relations between personal pronouns and prepositions, on the one hand, and the powers of tautology, on the other. (shrink)

This paper is concerned with an aspect of Deleuze and Guattari's thought which has not been duly analyzed: systematicity. More specifically, it deals with their conception of the system in three co-authored major works: What is Philosophy?, Anti-Oedipus and A Thousand Plateaus. These works are of renewed interest because they tease out, each in its own way, a particular type of system. Regardless of whether it has a philosophical import, a botanical reference, a social dimension, or a libidinal investment, the (...) system that Deleuze and Guattari advocate is allegedly a hyper-dynamic system that resists closure. Thus, in an interview with Didier Eribon, Deleuze points out that philosophy is 'an open system' and then, referring to A Thousand Plateaus, he further observes that what he and Guattari 'call a rhizome is also one example of an open system'. The purpose of this essay is not merely to explore how the system in the works of these two prominent poststructuralists is conceived, how it is structured, and how it works, but also to show how it is only superficially open. Paying a special attention to Deleuze and Guattari's exegesis on capitalism, I argue that the proposed system is cynical and ultimately untenable. Key Words: capitalism • Gilles Deleuze • Félix Guattari • open system • philosophy • total system. (shrink)

Twentieth-century thought appears as a collective project aimed at dismantling metaphysical hierarchies in all their relays across the fields of human culture. Central to this project has been the...

: 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.

: 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)

This paper juxtaposes Deleuze's notion of the virtual alongside Oyama's notion of a developmental system in order to explore the promises and perils of thinking bodily identity as indeterminate at a time when new technologies render bodily ambiguity increasingly productive of both economic profit and power relations.

In The Fold, Deleuze regards Raymond Ruyer as the most recent of Leibniz’s great disciples. This claim is not self-evident, since Ruyer often criticises Leibniz and stresses the divergence of his theory from Leibniz’s monadological metaphysics. Therefore, while Ruyer does not seem to regard himself as indebted to Leibniz, and as his psychobiology is not always reconcilable with Leibniz’s philosophy, it is necessary to explore what is at stake in Deleuze’s recognition of Ruyer as a Leibnizian thinker. This essay foregrounds (...) the tacit intertwining between Leibniz and Ruyer, which can, on the one hand, contribute to Leibniz’s scholarship and uncover the contemporaneity of his thought, and on the other hand, expose certain revealing Ruyerian moments in Deleuze’s immanent philosophy. (shrink)

While most other works focus on conspiracy theories, this book examines conspiracy panics, or the anxiety over the phenomenon of conspiracy theories. Jack Z. Bratich argues that conspiracy theories are portals into the major social issues defining U.S. and global political culture. These issues include the rise of new technologies, the social function of journalism, U.S. race relations, citizenship and dissent, globalization, biowarfare and biomedicine, and the shifting positions within the Left. Using a Foucauldian governmentality analysis, Bratich maintains that conspiracy (...) panics contribute to a broader political rationality, a (neo)liberal strategy of governing at a distance through the use of reason. He also explores the growing popularity of 9/11 conspiracy research in terms of what he calls the "sphere of legitimate dissensus." Conspiracy Panics concludes that we are witnessing a new fusion of culture and rationality, one that is increasingly shared across the political spectrum. (shrink)

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

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

Can the brain become mind? If the question seems strange, aberrant even, it is perhaps due to the way the problem brain–mind is commonly presented, where what's repeatedly asked is whether the brain is or isn’t ‘mind’. Yet, if we take Deleuze and Guattari's provocation seriously, in the Conclusion of What is Philosophy?, the problem is radically recast: even if speculatively, that is, properly philosophically or conceptually, the brain, for them, involves its own becoming, both in terms of its ‘becoming-subject’ (...) and ‘becoming-mind’, as ‘Thought-brain’. I will explore references within Deleuze's philosophy in relation to the brain, namely in The Logic of Sense and his work on cinema, as I try to work out what this fantastic story (with necropolitical undertones) may in fact look like, the one where the brain not simply is but becomes, and in becoming, becomes mind…. (shrink)

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

The quasi-ubiquity of ICT is transforming contemporary politics and seems to deteriorate democracy, for the technologies undermine debates, contest the grounds of reason and truth, and influence people’s votes. Donald Trump’s election and Brexit are good examples of their effects on public opinion. More fundamentally, these technologies cause theoretical problems to the way we traditionally conceive public opinion. Thus, I seek to rethink public opinion beyond conventional approaches. Departing from Deleuze and Guattari’s work, I develop the first steps of a (...) post-representational theory of public opinion as a regime of political truths that has new dimensions of truth production with information and communications technologies. (shrink)

In Out of This World, Peter Hallward argues that Deleuze's philosophy is, in spite of its proclaimed Nietzscheanism, intrinsically nihilistic. This article defends Deleuze against this accusation by reassessing his relationship to Nietzsche. I argue that both thinkers pose a similar problem, that of agency, and that the modus operandi of both for solving it relies on viewing agency as experimentation. The paper highlights the strong pragmatic dimension at play in Deleuze's philosophy: Deleuze aims to penetrate increasingly deeply into this (...) very world and to provide us with tools for intensifying our sensitivity to and engagement with it. To bring this into view, I offer a parallel reading of Nietzsche's and Deleuze's account of the production of our empirical experience, their critical stance towards such experience, and their means of overcoming it by engaging fully with problematic aspects of reality. (shrink)

Introduction: Foucault and political philosophy -- Marx: antinormative critique -- Lenin: the invention of party governmentality -- Althusser: the failure to denormativise Marxism -- Deleuze: denormativisation as norm -- Rorty: relativising normativity -- Honneth: the poverty of critical theory -- Geuss: the paradox of realism -- Foucault: the lure of neoliberalism -- Conclusion: What now?

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)

Taking as the focus of enquiry the engagements of Félix Guattari with Marcel Duchamp, namely, those rare passages in Schizoanalytic Cartographies and Chaosmosis, the question of the encounter is posed in the field of the sign, but of a sign ‘destructured’ (as Duchamp du signe), in the sense also that Guattari started by destructuring Lacan (from Psychoanalysis and Transversality to Anti-Oedipus). Introduced by the relationships between Guattari and Foucault to better play in between the early and the late Guattari, Guattari’s (...) key insight into the Bottle Rack readymade as an existential function is critically discussed from a reopening to enunciation through the ‘Duchamp effect’. If the latter seems to privilege language contrary to Guattari’s own semiotics, it is to derail it as a machinic unconscious. Duchamp’s writings on his readymades and other machinations are analysed, with the role of Raymond Roussel for Duchamp (and Deleuze-Guattari via Foucault), as well as the implications of a trans-Duchamp, his alter-ego Rrose Sélavy, as an opening to a machinic alterity undoing and queering gender binarity and phallic centricity, recovering the singularity of the bachelor machine and its rupture of subjectivation. The article shows how it could be transversally returned to the very middle of the Guattarian trajectory. (shrink)

This article presents an interpretation of Deleuze’s concept of difference-in-itself. I argue that this is best understood as an adption of Duns Scotus’s concept of ultimate difference. After suggesting that the influence of Scotus on Deleuze extends beyond their shared commitment to the univocity of being, I turn to briefly review Deleuze’s notion of absolute difference. I proceed from there to explain Scotus’s accounts of univocity and ultimate difference, throughout noting the many stark parallels with Deleuze. On the basis of (...) this Scotistic reading of Deleuzian difference, I then show how Deleuze’s synthesis of univocal being and difference-in-itself can be uniquely situated within the fourteenth-century Scotistic disputations on the predicability of univocal being to ultimate difference. I conclude with some suggestions on possible further connections between Deleuze and medieval metaphysics which are opened up through this association of Deleuze with Scotus and the Scotistic tradition. (shrink)

This article examines Nietzsche’s enduring influence on Deleuze by showing how the interpretation advanced in Nietzsche and Philosophy informs Deleuze’s later work with Guattari. I analyse Deleuze’s reading of the will to power as a typology of forces and his interpretation of the Overman as a pinnacle of creative activity with an eye towards demonstrating that these are not merely Deleuzian creations but are also defensible interpretations of Nietzsche; and I suggest how these portions of Deleuze’s reading of Nietzsche influence (...) his concepts of desiring-production and nomadism, respectively. By analysing Deleuze’s relation to Nietzsche as a longue durée, we can better appreciate how Deleuze’s early reading of Nietzsche is carried forward in his later work. (shrink)

In Anti-Oedipus and A Thousand Plateaus, Gilles Deleuze and Félix Guattari emphasise the difficulty of confronting ‘micro-fascisms’. Such fascisms occur at the micropolitical level as they permeate and modulate across social collectivities and networks. Arundhati Roy’s novel, The God of Small Things, reflects upon overt and violent modes of social division and classifications that determine ‘who should be loved and how. And how much’. Such a system ‘restrains or limits the individual’s power’, diminishing the ‘capacity to be affected’, as Deleuze (...) wrote in Spinoza, thereby nourishing and sustaining the fascists inside of them. This article will examine micro-fascisms within Roy’s novel, demonstrating how they function at the individual and interpersonal level. (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)

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

The article, as part of ongoing research, is a theoretical account of the workings of affect and affectivity in the process of reading poetry, closing with an illustrative reading. It takes heed of the criticism of the terminology employed in affect studies and the employability of affect in critical discourse as an operative category. The study shows that the difficulty in the applicability of affect in discursive situations lies in its nature – in its being at once experienceable, yet impalpable. (...) As a consequence, the article proposes the need to relocate the perspective within the reading for affect as an empty term and foregrounds the ways in which concentrating on Deleuzian sensation and sense, rather than affect alone, allows it to become operative. (shrink)

The recent ‘nonhuman turn’ in the theoretical humanities and social sciences has highlighted the need to develop more ontological modes of theorising the ethical ‘responsibility’ of the human in its relational encounters with nonhuman bodies and materialities. However, there is a lingering sense in this literature that such an ethics remains centred on a transcendent subject that would pre-exist the encounters on which it is called to respond. In this essay, I explore how Gilles Deleuze's philosophy offers potential opening for (...) a more ontogenetic thinking of a ‘nonhuman ethics’. Specifically, I focus on how his theory of ‘individuation’ – conceived as a creative event of emergence in response to immanent ontological problems – informs his rethinking of ethics beyond the subject, opening thought to nonhuman forces and relations. I argue that if cinema becomes a focus of Deleuze's ethical discussions in his later work it is because the images and signs it produces are expressive of these nonhuman forces and processes of individuation, generating modes of perception and duration without ontological mooring in the human subject. Through a discussion of Verena Paravel and Lucien Castaing-Taylor's experimental film – Leviathan – I explore how the cinematic encounter dramatises different ethical worlds in which a multiplicity of nonhuman ‘points of view’ coexist without being reduced to a hierarchical or orienting centre that would unify and identify them. To conclude, I suggest that it is through the lens of an ethics of individuation that we can grasp the different sense of ‘responsibility’ alive in Deleuze's philosophy, one oriented not to the terms of the already-existing but rather to the nonhuman potential of what might yet come into being. (shrink)

What is the concept of sense developed by Deleuze in his 1969 Logic of Sense? This paper attempts to answer this question analysing the three dimensions of language that Deleuze isolates: the primary order of noises and intensities ; the secondary order of sense ; and the tertiary organisation of propositions. What renders language possible is that which separates sounds from bodies and organises them into propositions, freeing them for the expressive function. Deleuze argues that it is the dimension of (...) sense that brings about this genesis of language, and he analyses in detail the three syntheses that bring about the production of this surface of sense. Yet Deleuze also distinguishes between two types of non-sense: the nonsense of Lewis Carroll's portmanteau words, which remain ensconced in the dimension of sense, and the more profound nonsense of Antonin Artaud's psychotic scream-breaths, which penetrate the almost unbearable world of the primary order of noise and intensities. In the end, the focus of Logic of Sense is less the surface domain of sense than the primary depth of corporeal intensities. What Deleuze calls a ‘minor’ use of language is nothing other than an intensive use of language that constitutes a principle of metamorphosis. (shrink)

The essay draws together a number of disparate elements from Deleuze and Deleuze and Guattari’s various engagements with Spinoza. Specifically, the essay connects the notion of expressionism, which Deleuze develops in the early work Expressionism in Philosophy: Spinoza, to the notion of living a philosophical life from Spinoza: Practical Philosophy, to the ideas of friendship and conceptual personae in Deleuze and Guattari’s What is Philosophy? To think philosophically, which following Spinoza Deleuze treats as a matter of thinking immanently and essentially, (...) is to live a philosophical life, that is, to re-express the contingencies of an empirical life in and as the essence of a life. Such is the existential and ethical task Spinoza presents us. The essay argues that a Spinozan existential ethics is realisable only in relation to – only in friendship with – the image of a philosopher as conceptual persona. Further, the essay argues that Spinoza is an exemplary philosopher in this regard because expressionism, which he alone in the history of philosophy conceptualises in fully univocal fashion, presents an image of a philosopher as a friend to one and to all. The ethical implication of thinking immanently and living essentially in the image of Spinoza as a photographic lens is to constitute a community of friends – distant and non-communicative as that community may be. Or, to put the point in Dickensian terms that Deleuze appeals to in ‘Immanence: A Life’, the Ethics is of ethico-existential import in expressing the image of Spinoza as our mutual philosophical friend. (shrink)

While most new materialists, including Thomas Nail, tend to distance themselves from Deleuze, this essay reads the encounter of Nail's ‘process materialism’ and Deleuzian philosophy as productive rather than contentious. After tracing the affinities of their notions of continuity and discontinuity by way of Deleuze's The Fold: Leibniz and the Baroque and Nail's Lucretius I: An Ontology of Motion and Being and Motion, the essay considers Nail's unfolding of Lucretius’ luminous philosophy in relation to Deleuze's reading of Lucretius from within (...) Deleuze's own ‘philosophical luminism’. Within the multiple overlaps between Nail and Deleuze, particularly vis-à-vis quantum physics and quantum field theory, their divergent readings of the particle–wave duality bring about a productive conceptual tension. Nail's argument about the ontological precedence of waves over particles is illuminated by Deleuze's concept of their ontological complementarity, and vice versa. (shrink)

This essay investigates the differences and points of contact between Walter Benjamin's concept of ‘constellation’ and the notion of ‘assemblage’ as theorised by Gilles Deleuze and Félix Guattari. Both concepts address the entanglement of discourse and matter, bodies and devices, and raise questions regarding the historicity and temporality of different kinds of multiplicity. Presently, the term ‘assemblage’ figures prominently in the context of the new materialism, a theoretical movement which calls for a renewal of materialist ideas, proposing a break with (...) the historical materialism of the past. Against this backdrop, the essay has a twofold purpose: first, by focusing on the notions of constellation and assemblage, it seeks to highlight the differences and analogies between the materialisms of Benjamin, on the one hand, and Deleuze and Guattari, on the other. Second, by examining the new materialism's appropriation of Deleuzian ‘assemblage theory’, it will not only analyse what is ‘new’ about the new materialism, but also underline its conceptual errors and political problems. Eventually, what the essay argues is that our contemporary understanding of assemblages might indeed benefit from a more thorough engagement with the historical materialism of an author like Benjamin. (shrink)

In A Thousand Plateaus, Deleuze and Guattari carve out an image of thought and a path for philosophy that is connected to the figure of the cosmic artisan. This article situates the artisan in relation to both past and future, comparing this figure to that of the artist in the work of another great philosopher who desired to bring forth a new beginning for philosophy, Martin Heidegger. After discussing multiple ways that Deleuze and Guattari's thought is world-destroying in terms of (...) past ontological and epistemological commitments, the article considers the cosmic artisan/philosopher's diagrammatic role in light of the technological-scientific advancements within the field of quantum physics. Through these elaborations, it becomes clear that Deleuze and Guattari are articulating the need for a new sensibility – to the imperceptible, the virtual, the compossible and the molecular. Deleuze and Guattari's noological nomadism opens a way forward, where world-destroying becomes linked to creation, and the figure of modernity becomes the possibility of a new relation to the earth – a cosmic earth. (shrink)

This paper takes Deleuze's idea ‘to green’ as a qualitative predicate which becomes a rhizomatic event where Jesper Hoffmeyer's ‘plant being’ contemplates through waves and rhythms, hence affects and percepts. The article then brings forward an intertwined group of Chinese ideograms which are designed with plant-radicals, making up an ecosystem towards the establishment of a new Chinese ecocriticism under the banner of biosemiotics. Such an effort will, hopefully, widen the scope and dimension of the new field of environmental humanities, with (...) an emphasis on the scenario of affective attuning to the agency of vegetal life. The main purpose is to put Deleuze and Guattari's form-event assemblage within the stratification of regimes of signs in A Thousand Plateaus, in order to establish a ‘natureculture’ continuity not only between science and art, but also between a Western rethinking of language/culture and a Chinese ecosystem/ecocriticism. (shrink)

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...) and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (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 essay pursues Gilbert Durand’s plea for a new anthropological spirit that would overcome the bureaucracy-or-madness dichotomy which has since Nietzsche left its imprint upon contemporary thought, forcing it to choose between an “Apollonian” ontology established upon some kind of first principle and a “Dionysian” ontology consisting in the erasure of any founding norm. It does so by reclaiming Dionysus and Apollo’s original twin-ness and dual affirmation in dialogue with contemporary anthropological theory, especially Roy Wagner’s thesis on the interplay of (...) “elicitation” and “containment” in sociocultural life. What would happen then, I ask, if we were to reimagine today’s philosophical game – which after Heidegger Deleuze, and Derrida turns variously and increasingly around subtraction – otherwise: as a chiastic board on which Apollo would cut Dionysus’s continuum, which Dionysus would in turn restore despite Apollo’s cuts, and on which the obliteration of any of the two gods would entail the inevitable dismemberment of the other? Accordingly, I offer a full reassessment of Dionysus’s and Apollo’s complementary roles in ancient-Greek culture in discussion not only with Nietzsche’s Dionysian philosophy but also with Ihab Hassan’s postmodern critique of Orpheus. All of it less with the purpose of putting forward a new metaphysics than with the intent of restating the translucent-ness that keeps together reality and thought against any claim that they are either transparent or opaque to one another. (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)

American outlier writer William S. Burroughs was a creative force – an homme de lettres in his own right, yes, but as a cultural theorist as well, particularly his anticipation of what we now regularly call ‘a society of control’ or ‘a surveillance culture’, and, moreover, as a textual embodiment as well. That is, Burroughs was as much a media theorist and performance artist as he was a traditional literary figure, what we generally call a writer, or novelist, although he (...) lauded those latter categories. Through such multimodality he offered critiques of a ‘control society’ and of ‘thought control’ by a media that strips us of volition. In his lectures on Michel Foucault delivered at the Université de Paris VIII in the 1980s, Gilles Deleuze detailed Burroughs's influence on both philosophers with his critique of our ‘control societies’, a term they adopted from him. These critiques of what Burroughs calls ‘thought control’ were and currently remain inseparable from his emergence as a performance artist, such embodiment of his art readily available amid our own image-obsessed electronic revolution. That is, the products of this period are currently being recirculated through commercial media outlets and through multiple open access formats to suggest – to confirm – that the artist whom many another ‘outsider’ has called ‘the Priest’ and who saw himself as a ‘cosmonaut of inner space’ and ‘a technician of consciousness’, this dystopic modernist author, visionary science fiction writer, and aesthetic weapons maker was one of the major media artists, social critics, cultural theorists and literary figures not only of his but of our ‘postpersonal’ time. Michel Foucault closes The Order of Things by imagining a time when ‘man will be erased, like a face drawn in sand at the edge of the sea’. The closing image was crafted some fifteen years before Foucault met Burroughs in New York in 1975, but in the 1960s Burroughs, too, was already imagining and theorising the disappearing author and a post-human, media-dominated world. Such lines of thought suggest parallel trajectories that Deleuze will see as bridging philosopher and artist if not philosophy and art. (shrink)

In this paper, I trace the concept of ‘becomings’, most thoroughly articulated in the tenth plateau of A Thousand Plateaus, as it relates to the notion of the writer as sorcerer. More precisely, my aim is to articulate how it is that Deleuze and Guattari conceptualise the writer as really effecting what they understand as ‘becomings’. My thesis is that if the writer is a sorcerer, capable of enabling real becomings, it is because language itself, for Deleuze and Guattari, is (...) bodily and material, and the author, particularly the literary author, has the ability to disrupt language's representational domain of sense, causing language to hum with the intensive vitality that puts it in closest proximity to the body, from whence language emerges in the first place. We shall first look to Bergson and Spinoza, from whom Deleuze and Guattari abstract their intensive conception of the body in A Thousand Plateaus. From here we will outline the apparent progression of becomings in the tenth plateau. Finally, we will look to the Kafka book as outlining the material and affective capacities of literature. (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)

According to What Is Philosophy?, all disciplines combat opinion, but art fights most effectively because art and opinion both pertain to sensibility. Yet, this common provenance also makes the line dividing art and opinion porous. The stakes of this porosity are perhaps most visible in the relation of art to life. Although art must avoid two forms of death, ‘chaos’ and ‘opinion’, Deleuze and Guattari don't treat chaos and opinion equally. The fundamental distinction between good death and bad death, between (...) death by chaos and death by opinion, has a number of problematic consequences. Perhaps the most consequential: opinion is deadlier than death itself. (shrink)

In this article I investigate the necessarily interdisciplinary nature of our contemporaneity, from the perspective of works by Gilles Deleuze, Félix Guattari, Bruno Latour and Michel Serres. While we often find that academia, society and governments push us towards interdisciplinarity, it is also true that those same institutions and powers, distance us from that purpose. Opposing this aporetic situation we come up against the Deleuzian concept of ‘contamination’, or the well-known ‘science of Venus’ concept of Michel Serres. In doing so, (...) we attempt ‘to put the tracing back on the map’, as Deleuze and Guattari suggest, and try to see the epistemological becomings that we find in contemporary culture. The main indicators which we use to study these contaminations and hybridisations are cinema and Bio Art. In both cases we observe that the real creative production is closer to ‘contamination’ than to the ‘purification’ and deletion of metabolic and hybrid processes criticised by Bruno Latour. (shrink)

Félix Guattari spent his entire working life at La Borde psychiatric clinic where a radicalised form of psychoanalysis, ‘schizoanalysis’, was applied, based on the theory that emerged in Anti-Oedipus and was elaborated in A Thousand Plateaus. In the medium of this non-Oedipalised therapeutic plane lies the ‘body without organs, a body not fully organised but open to every form of expression and metamorphosis. The ideas and practice involved in schizoanalysis, which have now been in effect for fifty years in every (...) social and cultural field, have produced a new hybrid of Lacanian analysis and schizoanalysis, with the recent queering psychoanalysis expanding further the revolutionary character of the latter. The general logic and the determinate ideas of A Thousand Plateaus were applied as a reciprocal presupposition between content and form: free expression, interconnectedness, becoming-woman and -imperceptible, a deterritorialisation of models, roles and relations. (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)

This paper introduces Deleuze and Guattari's assemblage theory into the contemporary biological context. I begin by laying out at some length what I take to be the defining features of Deleuze and Guattari's theory of assemblage. I consider this to be a worthwhile endeavour in its own right, and so dedicate a large portion of this paper to producing a clear account of what it is that characterises an assemblage. Then I provide a reading of Deleuze and Guattari's critical conception (...) of the organism as a kind of assemblage typified by an especially restrictive, self-regulating form of functional integration. This restrictiveness comprises what I take to be the first pole of organic life. Then I reconsider Deleuze and Guattari's positive comments about ‘non-organic life’ in this context, as a feature internal to the organisation of organic life instead of something to be set against it. I theorise this mostly in terms of symbiosis. I take the significance of symbiosis, consisting in what Deleuze and Guattari call ‘shared deterritorialisation’, to comprise the second pole of organic life. I conclude the paper with a brief discussion of how Deleuze and Guattari's assemblage-based conception of organism might be thought to anticipate and accommodate some of the contemporary research on biological individuality. (shrink)

This article explores the ethical imperative to dramatise in the work of Georges Bataille and Gilles Deleuze, two of the most radical thinkers in twentieth-century philosophy, as a peculiar kind of askesis. Whereas askesis is often associated with asceticism or self-denial, in the sense of self-regulation and abstention, Bataille and Deleuze advocate training the self towards intensification of the liminal and extreme, which can rather be understood as a denial of self – its dissolution or laceration. Few attempts have been (...) made to compare their work, even though both share a commitment to resisting the closures that bind our desires and inhibit our full participation in and confrontation with the ebbs and flows of an impersonal, immanent life. Through careful consideration and comparison of their work, I argue that both offer important methods for engendering modalities of ecstatic being characterised by sensitivity to immanence, which have important ramifications for our ability to address phenomena of ethical indifference and resist the constrictions of social control mechanisms that decimate our political imaginations and inhibit our resolve to invent a different future. In the final sections, I interrogate the differences in their invocation of affect and art. (shrink)