In this paper, I discuss and compare the possibility of thinking that which is most worth our thought in Deleuze’s What Is Philosophy? and Heidegger’s course lectures in What Is Called Thinking?. Both authors criticize the history of philosophy in similar ways in order to reconsider what should be taken as the nature and task of philosophical thinking. For Deleuze, true thinking is the creation of concepts, but what is most worth our thought in fact cannot be thought. For Heidegger, (...) Being calls on us think, and to think rightly is to be underway toward thinking itself, a grateful heeding of Being. In this paper I explore the very possibility to think that which is most worth our thought. I will argue that although for both authors proper thinking as such is possible, thinking what is most worth our thought seems remarkably both possible as impossible. (shrink)

Rad se bavi slojevitim odnosom između filma i različitih modusa reprezentacije tjelesnosti, odnosno njegovim krajnostima: od alegorijske reprezentacije do naglašene odsutnosti aspekata tjelesnosti. Posljednjih tridesetak godina film svoje uporište nalazi u specifičnim kulturnim kontekstima, bavi se političkim, tehnološkim tijelom, pitanjem zazornosti, marginalnosti, drugosti, pitanjem identiteta. Naglasak na tjelesnosti u znaku je refleksivnog filma, javlja se 1980-ih godina kroz različite koncepcije: kao film zazornosti, film margine, film predgrađa, kao filmsko pismo, da bi se u recentnije vrijeme tematizacijom tjelesnosti manifestirao kroz filmove (...) nove francuske korporealnosti. Prepoznaje se također u filmovima prekomjernosti i estetike oduzimanja, kao i filmovima koji se bave normativnošću. Spomenuti redatelji vode izravni ili neizravni dijalog sa suvremenicima koji tematiziraju tijelo. (shrink)

The present paper investigates the status of the body as an image and its new forms of cultural coding. The first part analyses, from the historical point of view, the dualism of the relation soul/body marking the essential changes that it had experimented through the history of the occidental thinking. As an example, modern philosophy introduces a change of perspective by representing a soul immanent to a body like an essence immanent to a phenomenon. This gradually leads to the idea (...) that what makes us unique and gives us individual identity is in fact our body since it is the body itself that renders the generically universal consciousness a self-consciousness. The next step analyses the mutation from body-communication to communication-body relation, from the idea of body-language to body-communication witch was possible and could only develop in an environment dedicated to the therapy of interpersonal relationships or, generally speaking, of communication. The last part of the text develops the idea of the Swiss anthropologist Adolf Portmann in which the surface of the body is not a simple protective coat but a special sense organ that functions in the most various ways, primarily to create an appearance defined as what is visible, what is actually being revealed. (shrink)

A reflection on overcoming Natur vs Geisteswissenschaften oppositions in thinking about the 'cultured brain' and plasticity.

This article is an attempt to explore some thoughts regarding how different kinds and levels of expectation might construct being in music education. The philosophical lenses through which this is analysed consist of a combination of a Deweyan pragmatism, the possibilistic parts of the philosophy of the Norwegian philosopher Arne Næss who draws on Spinoza and finally parts of the philosophy of Deleuze & Guettari. A claim made in the article is that it is important in arts educationto challenge the (...) expected and for the world to be created in an eternally wide, and at the same time claustrophobically narrow set of pathways to experience. To learn a communicative art could in other words imply to learn how to consciously adapt to conventions and expectations of musical parameters and at the same time break with them in ways which are functional in aesthetic communication. An important task in arts education must therefore be to train and develop the skill to imagine as rich a web of possible outcomes to any musical situation at the same time as being aware of the conventions that are at stake and their expected uses in order to understand as well as to play with them. That way music education can help pupils become interesting musicians, composers and listeners who are also critical, creative and happy. As an added benefit, these kinds of possibilistic skills, attitudes and modes might actually be beneficial for both learner and society in most parts of life. (shrink)

Since the first memorandum “agreement” between Greece and its international creditors in 2010, the “tragedy of the Greek debt crisis” has become one of the most popular narratives that frame Greece’s condition of indebtedness. Highlighting the interplay between appearances of “debt crisis” and notions of tragedy as its point of departure, this essay builds on Nietzsche’s thought and introduces a philosophy of tragedy that understands what appears to be a “debt crisis” as, in fact, a crisis of the creditor’s capacity (...) to reproduce the non-resolvable power relations between them and their debtor. For Nietzsche, in order for the creditor to experiment with their debtor’s appropriation, the creditor stages a series of acts of judgment that introduce masks and appearances of their debtor’s redemption. In the comments that follow I make the case that Gilles Deleuze and Félix Guattari draw upon Nietzsche’s philosophy of tragedy in order to grasp the interdependencies between performances of evaluation, capitalistic modes of production and the production of infinite debt. Drawing upon Deleuze and Guattari’s readings of Nietzsche’s philosophy of tragedy and Maurizio Lazzarato’s works on Nietzsche and Deleuze and Guattari, I argue that what appears to be a “Greek debt crisis” is a crisis of credit’s capacity to extract profit from infinite debt. Connecting this theorization to the Greek situation, I look at the “YES” and “NO” demonstrations that occurred two days before the Greek bailout referendum of 2015. I contend that while the “YES” demonstration reenacted the infinitization of Greece’s indebtedness to its creditors the “NO” demonstration performed politics that exceed notions of judgment and debt. (shrink)

What does it mean to think? In the following article I will show Gilles Deleuze’s answer to this question. According to him ’to think is to create — there is no other creation — but to create is first of all to engender ' thinking ' in thought ’. To understand what this means, to grasp the radical nature of such an event, we need to see how for Deleuze to engender thinking in thought means a repetition of that genetic (...) process which has brought forth the thinking subject in the first place. In this event that which otherwise subsists beneath normal experience, as life- and consciousness sustaining forces, now become conscious experience. The implication of this is that true thinking means the creation of a new life and consciousness. Via a close-reading of chapter two of Difference and Repetition I show how this leads the thinker into a radical metamorphosis of consciousness, a process of Stirb und Werde. (shrink)