Building from recent attempts in the humanities and social sciences to conceive of creative, entangled ways of doing interdisciplinary work, I turn to Braidotti’s ‘nomadic ontology’ to (re)vision the human body without a brain. Her exploration of the body as a ‘threshold of transformations’ is put into conversation with Deleuze’s comments on neurobiology to consider what a brainless body might do, or undo, in neuroscientific practice. I ground discussion in a case study, detailing the practices of brain decoding or ‘mind (...) reading,’ re-interpreting Rose’s account. Therein, I argue that the technical-social configurations of brain decoding are unlikely to usher in a radically new ontology, as Rose suggests. To better match Rose’s vision and align with new ontologies in cultural theory, I argue that neuroscience must become nomadic and embrace a body without a brain. I then conclude with six recommendations towards a nomadic neuroscience. (shrink)

The following paper will present some outcomes of research into the topic of clairvoyance in a European context and the depiction of the spiritual in film in order to suggest that a cultural analysis of the perception of the angelic imaginary can offer insights into the interrelation between the subject areas of cinema and consciousness. This research on clairvoyance began in 1997 as part of an interdisciplinary study arising out of the disciplines of Cultural Anthropology and Film Theory at the (...) University of Amsterdam: it focused on the phenomenon of the clairvoyant perception of angels and compared this with the treatment of the spiritual in film. One major outcome of this study reveals a significant correspondence between the general cinema experience and the clairvoyants' perception of apparitions: both could be adequately described as multi-sensorial experiences reaching beyond the audio-visual perception into a stimulation of an internal affection (in the Bergsonian use of the term) imbricated with thought, memory and association, embracing the importance of the often underrated sensations of touch, smell and emotions. What follows will summarize these insights and situate them within a broader theoretical context, in which the work of Henri Bergson will be revisited through the subsequent insights of Gilles Deleuze in order to re-evaluate Deleuze's contribution and place my own research within an interdisciplinary framework of Philosophy, Film Studies and Cultural Anthropology. (shrink)

Joshua Braun's (2007) analysis of narrative conventions in the media brings a much-needed gaze to a neglected area of scholarship in bioethics. Bioethicists often invoke public debate of contentiou...

This article uses Deleuze's three-part theory of the movement-image as a way to investigate the potential importance of his unexplored claim about the casting of Beckett's Film. In “The Greatest Irish Film” Deleuze writes that the starring role in Film “could only have been played by Buster Keaton” 23), but he does not explain why. Here, I return to the Bergsonian basis of Deleuze's film theory, as well as to early responses to Beckett's Film, in order to complicate our understanding (...) of Deleuze's perception-image, action-image, and especially his affection-image. (shrink)

Explores the continuities and discontinuities in the work of Henri Bergson and Gilles Deleuze.

Neste texto, procuro encontrar as origens de um dos mais importantes conceitos de Gilles Deleuze, o conceito de Imagem-tempo. Este conceito remete-nos para os primeiros textos de Deleuze dedicados à filosofia de Espinosa e ao problema do autómato espiritual e relaciona-se directamente com o problema da passividade/actividade do espectador. Ou seja, o conceito crucial na sua filosofia do cinema, a Imagem-tempo, esconde uma importante reflexão sobre a Imagem cinematográfica como arte de massas, os (im)poderes do pensamento e o modo fascista (...) de se pensar. This text seeks to find the origins of one of the most important of Gilles Deleuze's concepts, the concept of Time-image. This concept leads us to his first texts regarding Spinoza's philosophy and the problem of the spiritual automaton, and concerns directly with the problem of passivity/activity of the film goer. That is to say that the crucial concept of his film philosophy, Time-image, hides a fundamental consideration on the cinematic image as a mass art, the (un)powers of thinking and the fascist way of thought. (shrink)

Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition , he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze (...) was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia , comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991). (shrink)

In this paper, I use two films—Les Statues MeurrentAussi directed by Resnais and Marker and Sans Soleil as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema as (...) it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave. (shrink)

This essay explores Flusser’s theoretical texts on the cinema and the concept of cinematic technical imagination. Flusser wrote about the cinema at two specific moments in his career, in the mid 1960ies and the late 1970ies. Altogether, however, this corpus amounts only to a handful of texts, very little indeed if compared to Flusser’s extremely prolific output on the philosophy of photography and the creative works of single photographers. In his analysis Flusser draws a radical distinction between film making and (...) the structure of movie theaters, that is, between production and distribution. The cinema not only is far from having realized all its creative potential as a medium, the very way films are consumed thwarts the revolutionary force hidden within the medium. To really appreciate its force fully one would have to study the cinematic technical imagination and its ability to create a radically new vision of the world. (shrink)