Deleuze's monograph on Foucault is often construed as a ‘metaphysical fiction’ (Frédéric Gros), which would attribute to Foucault a metaphysics of Deleuze's own issue. Notably, Paul Patton has argued that Deleuze thereby deeply mischaracterises Foucault's concepts of actuality, history, power and philosophy itself. Against this view, I argue that Deleuze's interpretation in Foucault clarifies the virtual force ontology that the two thinkers effectively developed in common. This ontological framework not only resolves Patton's specific objections; it also outlines a philosophy of (...) the event demonstrating the conceptual consistency between Foucault and Deleuze on fundamental questions of philosophical critique and political agency. (shrink)

ABSTRACTIn this article, I demonstrate how Louise Bourgeois used her artworks not only to better understand herself but also to cultivate a self capable of taking control of and reshaping the material of her past. Exploring her artworks in the context of Michel Foucault's understanding of technologies of the self, I both contribute to the appreciation of Bourgeois’ work and show how visual artworks can be used to understand, cultivate, and transform aspects of the self. Foucault's understanding of our subjectivity, (...) as formed and deployed by power tactics, suggests the need for the formation of new subjectivities as a tactic of resistance. While his view of subjectivity as contingently created allows for the possibility that it could be different, his understanding of the conditions of its creation in terms of power tactics seems to constrain the possibilities for alternative subjectivities. I argue that artworks can help us understand the contingency of our subjectivity and illustrate how something new can be created out of existing conditions, in ways that may disrupt those very conditions. Further, in addition to bringing us to an awareness of the possibility of creating new subjectivities, artworks can directly contribute to this process for both artists and audience members. Turning to Foucault's own understanding of Stoic writing practices as a means of knowing and controlling the self, I use Bourgeois’ work to illustrate how artworks can operate as technologies of the self, which work directly on the self, extending Foucault's understanding of the role of writing to consider the particular contribution that visual artworks can make. I explore how the visual form, sculptural medium, and materials of Louise Bourgeois’ works contribute to their operation as technologies of the self which can allow one to relate to oneself differently. (shrink)

The work of Michel Foucault and Gilles Deleuze frequently gave rise to a practice of philosophy as a form of critical problematization. Critical problematization both resonates between their thought and is also generative for contemporary philosophy in their wake. To examine critical problematization in each, a shared theme of inquiry provides a useful focal point. Foucault and Deleuze each deployed critical problematization in the context of studies of sexuality, a site of excited contestation that remains as crucial for us today (...) as it was for them four decades ago. Foucault’s well-known History of Sexuality, Volume 1 and Deleuze’s little-discussed text Coldness and Cruelty thus provide us with exemplary instances of the critical problematization of sexuality. An examination of these two texts, and their broader resonance, illuminates the potential of Foucauldian genealogy and Deleuzian symptomatology as methods for critical problematization today. It is argued that they provide compelling alternatives to modern critical moods that would want to interpret sexuality through a series of oppositions. (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?

When Gilles Deleuze, in his book on Michel Foucault, asks, ‘who would think of looking for life among the archives?’, he uncovers something particular to Foucault's philosophy, but also to his own: a commitment to the question of what it means to think, and think politically. Although Foucault and Deleuze, who first met in 1952, immediately felt fondness for each other, a growing animosity had settled into the friendship by the end of the 1970s – a rift deepened by theoretical (...) differences. Notwithstanding these difficulties, Foucault and Deleuze shared a love for Nietzsche, as well as a curious fascination with Kant. Kant's influence, which was met with more opposition, is precisely the tension I tease out in this article, showing how Foucault critiques Kant's a priori through his own concept of the historical a priori, along with regularity and resistance, while Deleuze and Guattari, if more obliquely, critique Kant's a priori by further developing Foucault's notion of the historical a priori through their own method of pragmatics, particularly in three chapters of A Thousand Plateaus, namely ‘The Geology of Morals’, ‘Postulates of Linguistics’ and ‘On Several Regimes of Signs’. What I am interested in, then, is Deleuze and Guattari's treatment of redundancy, a concept mentioned seventy times in A Thousand Plateaus. Although not one of their main or most developed concepts, redundancy is a thread that can be traced back to Deleuze's first book, Empiricism and Subjectivity. Moreover, their more developed concepts, for example the diagram, the abstract machine, becoming, micro-politics and the ritornello, as well as their political philosophy, are grounded in their understanding of redundancy, which moves their philosophy beyond mapping out the conditions of possibility and demonstrating that the historical a priori emerges as a contingent function of its own expression to the genesis of thought. (shrink)

The premise of this article is that the political import of Deleuze and Guattari’s “micropolitics of desire” has been obscured and as such remains underdeveloped. The micropolitics of desire is here reproduced to provide a Nietzscheo-Marxian critique of capitalism and resistive politics of the future. This entails an entirely different understanding of the nature of power and resistance, as compared to prevalent views. Power is not negative or anti-energy, but a socially productive force operating on, with and through the productivity (...) of desire, delineating an immanent, quantitative and “fusional multiplicity” of a producing-production. Resistance is a matter of recomposing this producer-produced relationship in a manner problematic to and in excess of the very productive core of capitalism. In terms of praxis, this amounts to experimental practices that resonate into a viral though non-teleological “revolutionary-becoming”, delineating a form of a-systematic and post-identity resistance. The underlying thesis is that we must change our “desire”, before we can hope to change our politics. (shrink)

This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan, Ithrayum Yathabhagam, Vettayadapetta Manasu, Mortuary of Love, Agnirekha and Holy Cow. This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the Cinéma (...) Vérité of Jean Rouch and the Third Cinema of Solanas and Getino or the milieu of the political which creates realistic documentation in cinema. It looks at the concepts like desire and representation that intersect between these two different genres in order to reconceptualise the political in relation to Deleuze on cinema. (shrink)