We investigate the parallelism between aesthetic experience and the practice of phenomenology using Viktor Shklovsky’s theory of “estrangement”. In his letter to Hugo von Hofmannsthal, Husserl claims that aesthetic and phenomenological experiences are similar; in the perception of a work of art we change our attitude in order to concentrate on how the things appear to us instead of what they are. A work of art “forces us into” the aesthetic attitude in the same way as the phenomenological epoché drives (...) us into the phenomenological one. The change of attitudes is a condition of possibility of aesthetic and/or phenomenological experience. Estrangement is an artistic device that breaks the routinized forms of perception: one sees the thing as new and does not just “recognize” it automatically. Shklovsky insists that it is possible if one experiences or feels the form of the work of art—in an affective and even sensuous way. We claim that this is similar to the phenomenological seeing, or intuition, which, according to Husserl, should be devoid of all understanding. Phenomenological epoché can also be described as a philosophical technique that aims to arrest the “ready-made,” “taken for granted,” “pre-given” meanings in order to access a new meaning which is not yet stabilized, the “meaning-in-formation.” It is not enough to turn from what appears to how it appears; one has to oscillate between these conflicting attitudes, or rather to keep them both at the same time thus gaining a kind of a 3D-vision of meaning in its becoming. This double life in two different attitudes can be clarified in terms of Roman Jakobson’s theory of antinomic coexistence between the poetic and communicative functions of language. The notion of “double life in two attitudes” uncovers the role that ostranenie can play in the philosophical transformation of the subject based on variety and essential mobility of the affective components involved. Proposing a phenomenological interpretation of a passage from Samuel Beckett we show how the radicalization of ostranenie can lead even to “meta-estrangement”: to estrangement of the everyday “lack of estrangement.” We conclude with a remark on the productivity of this form of estrangement in the phenomenological context. (shrink)

As symbols of adaptability and transformation, together with qualities of vigilance and intelligence, we argue the relevance of dragons for spatial planning in China. We develop a metaphorical concept – the green dragon – for grasping the condition of contemporary Chinese societies and for facilitating the development of theories and practices of spatial planning which are able to face the challenges of rapid change. We ask Chinese scholars and spatial planners to liberate Deleuzian potential for strategic spatial planning in a (...) ‘becoming-between, coming-together’ of concepts which can effectively make a difference in the world. Having outlined what we regard as key transversals or diagonals between our reading of Gilles Deleuze and aspects of Chinese philosophy, we then offer the metaphor of strategic spatial planning as Chinese literati landscape painting. This is a form of painting which rejects the idea of the world being supremely organised from a particular point of view, preferring to paint immanence and transformation. Chinese literati landscape paintings, like philosophy and strategic spatial planning, ‘look only at the movements’. We conclude that connections between what concepts of Chinese philosophy and those of Gilles Deleuze can do, suggest that in China, a conception of strategic spatial planning as metaphorical green dragon may offer academics and planning practitioners a transverse way to relate the legacies of past philosophies and current thinking. (shrink)

Straipsnyje svarstoma galimybė, ar ritmo konceptas, funcionuojantis Gillesio Deleuze’o ir Félixo Guattari tekstuose, negalėtų padėti atsekti minties judėjimo linijų nuo filosofijos link skirtingų meno formų ir atgal. Pradedant nuo dinaminės problemų ir sąvokų kartografijos, kurią kaip tinkamą tokiems minties eksperimentams įžvelgė Anne Sauvagnargues, Jamesas M. Buchananas, Ronaldas Bogue, Stephenas Zepke, šiame tyrime siūloma sąvoka ritmas yra tinkama kaip siejamoji galimų filosofijos ir įvairių menų sankabos jungtis. Ritmas Deleuze’o ir Guattari tekstuose tampa filosofine sąvoka ir įgauna ontologinį statusą, transcenduojantį siauras filosofijos (...) ir meno apibrėžtis. Ji funkcionuoja tarpinėje teritorijoje: tarp minties, garso, žodžio ir vaizdo, meno kūrinio, filosofijos, gyvenimo. Būtent žvelgiant iš tokios ontologinės perspektyvos, ši sąvoka įgauna galią atverti ne horizontaliuosius, o vertikaliuosius, genealoginius meno kaip tapsmo aspektus. (shrink)

In this paper I compare how Michel Henry and Henri Maldiney interpret Kandinsky’s heritage. Henry’s phenomenology is based on a distinction between two main modes of manifestation: the ordinary one, that is, the manifestation of the world, and the “manifestation of life.” For him, Kandinsky’s work provides a paradigmatic example of the second, more original mode of manifestation, which is free from all forms of self-alienation. Henry claims that this living through the work of art is transformative; it is akin (...) to ascetic practice or mystical experience that goes beyond the distinction of the subject and the object. Maldiney acknowledges Kandinsky’s work as an attempt to provide access to an a-cosmic and ahistoric experience of one’s inner self; yet for him this is not a positive characteristic. For Maldiney, the key distinction is not between modes of phenomenalisation, but between the dimensions of meaning. For him there is no radical self-transformation which is not a transformation of one’s being-in-the-world and one’s meaning of the world, and so Kandinsky’s a-cosmic paintings cannot induce a true transformation of the self. I conclude that the disagreement of Henry and Maldiney on Kandinsky does not unfold on the level of phenomenological description of concrete aesthetic experience, but on the level of metaphysics. (shrink)

In this paper I trace pictorial acts that move beyond figuration and narration, particularly focusing on Gwen John's portraits of women and girls, the work of her maturity as an artist. In doing this I make connections between John's and Cézanne's letters about their painting techniques and direction. The analysis draws on Deleuze and Guattari's approaches to the work of art. I discuss in particular the concept of faciality in the Thousand Plateaus and the problem of painting forces in Deleuze's (...) work on Bacon, The Logic of Sensation. My argument is that an analysis that goes beyond phenomenology and semiotics opens new ways of seeing and appreciating a modernist woman artist's paintings, and sheds new light on the way her art allows the female figure to emerge as a woman-becoming-imperceptible within a patriarchal regime of signs. (shrink)

In contrast to Anglophone debates on personal identity initially formed by John Locke’s investigation of personal identity in the sense of personal continuity or persistence through time, the Continental tradition focuses on what constitutes ipseity in the sense of individuality or uniqueness of the human being “constituted” by its continuous transformation through changing experience. In this study, I claim that contemporary phenomenological research in France—especially the “phenomenology of the event” as represented by Henri Maldiney and Claude Romano—contributes to this Continental (...) discussion in a significant way: it formulates the conditions of personal uniqueness or distinctiveness with regard to other persons, conditions not to be found in Heidegger’s existential conception of selfhood in Being and Time. More precisely, Maldiney and Romano allow us to answer the principal questions of this study: In what does the personal uniqueness consist? What exactly individualizes the first-person selfhood disclosed in Dasein’s relation to death? In my three-stage analysis, I first deal with Heidegger’s conception of selfhood in Being and Time and its limits with respect to the question of personal uniqueness. Next, I analyse Maldiney’s conception of “eventful selfhood” in which he “completes” Heidegger’s conception of selfhood by describing Dasein’s openness to ontical, and yet fully authentic events. Finally, I develop the argumentation by presenting Romano’s even more radical conception of the “happening subjectivity”, which allows us to return to the second major feature of personal identity: personal persistence. Nonetheless, I conclude that the connection between personal uniqueness and persistence is not sufficiently examined in the phenomenology of the event, which opens the path towards another related inquiry into the following problem: What is the proper subjective dimension or the “underlying thing” in the background of personal persistence which somehow resists events? (shrink)

El presente artículo busca interrogar al fenómeno de la apelación. Para ello, se examinará el vínculo entre fenomenología y apelación preguntándonos qué es preciso entender por la máxima husserliana que conmina a un retorno a las cosas mismas; en segundo lugar, intentaremos dilucidar cómo la obediencia crítica a la consigna fenomenológica ha supuesto una recomprensión de fenómeno al punto de transformar la consigna husserliana en un verdadero “retorno de las cosas mismas”. Finalmente, nos proponemos interrogar la apelación del fenómeno, a (...) partir del diálogo entre Marion y Romano. No solo intentaremos dilucidar cuál es la especificidad de la apelación, sino qué relación estricta hay entre fenómeno, particularmente insigne o saturado y apelación. (shrink)

This paper argues that Paul Ricoeur’s hermeneutical philosophy attempts to reopen the question of human transcendence in contemporary terms. While his conception of language as self-transcending is deeply Husserlian, Ricoeur also responds to the analytical challenge when he deploys a basic distinction in Fregean logic in order to clarify Heidegger’s phenomenology of world. Ricoeur’s commitment to a transcendental view is evident in his conception of narrative, which enables him to emphasize the role of the performative in literary reading. The meaning (...) of the self in time provides Ricoeur with a discursive basis for distinguishing his own position from that of Kant and other philosophers in the transcendental tradition. (shrink)

¿En qué el ‘Ritmo del Cuerpo', herencia de la época moderna alemana en la danza y en la música, puede aportar elementos de reflexión acerca de las prácticas y estéticas contemporáneas? ¿Despertar de nuevo un interés al fenómeno ritmo, en el entrecruce de las prácticas artísticas educativas y científicas, no sería hacer acto de ‘resistencia' frente a una deshumanización de los comportamientos sociales? Con el ‘Ritmo del cuerpo' Françoise Dupuy, bailarina francesa, representa una corriente de - Danse, théâtre et spectacle (...) vivant – GALERIE – Nouvel article. (shrink)

This thesis wrestles with the normativity of language, its usage and its practices while questioning the signifié-signifiant reality. A structural reading of language designs its translational practices within the source-target framework, thereby essentialising its relationship en passant: everything has meaning as long as we accept the hidden framework of a universal language. Therefore, language outlined as a system of signs is a product of transcendental considerations and consequently it renders practice into a hermeticrealm in which the distinction between eidos and (...) eidolon, right and wrong, familiar and unfamiliar, grammar and gibberish makes perfect sense and in which the translation from A to B is simply a matter of transferring identities. Linguistic power neutralises through its transcendental conditioning ephemera in life and world. We will discover that a phenomenological reading of language is open to layers which questions the dialectic setting of linguistic knowledge production. Phenomenology proposes to study life-world relationships by reducing the power of dialectical denomination to the power of gazing or to the lenses of ambiguity. Theorising language and translational practices within the phenomenological realm follows the concept of being oriented towards body-life-world while laying bare the phenomenon language. This revealing method supersedes empirical considerations since phenomenological methodology questions permanently our very own positioning. Hence, the transfer from A to B will be challenged by possibilities which are temporary: it is about a transfer zone featuring A as A’ to B or A’ in B / C. However, the phenomenological possibility reveals that the price for ephemera is tamed by the condition of its possibilities: indeed, the aporia of linguistic identity in polyvalence requires not only phenomenological brackets but also a transcendental backup. Chapter I and II study the translational practice of language and phenomenology by explaining its analysis via dynamised transcendental conditions. The disillusion of the phenomenological inquiry will be yield by radicalising phenomenological reading of language towards a phenomenographical practice of language. Chapter III goes to the extremes in exposing a language without content. The introduction of the trickster figure Narcissistgrotesque Face will be the anti-metaphor in which the grotesque line up forces us to learn bearing A with B and in which the non-content materiality of linguistic practices resemble le bas matérialisme. Not explanation, understanding and rendering things plausible is the movens for language but it is all about the spur of its enactment, its style and its story telling that renders translational practice visible. Chapter III is a performative practice in which we turn the text into texture. Translation happens then when your are perplex and the translational void enacts you and me. (shrink)

Celem niniejszego artykułu jest naszkicowanie podstawowych tez nowej fenomenologii Henri Maldineya. Pierwsza część prezentuje styl Maldineyowskiego dyskursu, zmierzając do pokazania jego istotnego znaczenia. Druga zarysowuje szczątkową koncepcję podmiotowości, jaką można „wysnuć” z tekstów Maldineya oraz podstawowe kategorie tej fenomenologii, takie między innymi jak „wydarzenie” i „spotkanie”. W trzeciej części oddana zostaje złożoność tego dyskursu, a także zrekonstruowane są Maldineyowskie opisy wybranych fenomenów, takich jak góry le Cervin i XII-wieczna miniatura przedstawiająca tronującego Chrystusa. Ostatecznie, zmierzamy więc do wykazania, że w przypadku (...) fenomenologii Maldineya nie liczy się tylko „co”, ale także „jak”. Forma tych tekstów, ich rozproszenie i założona niesystemowość stają się częścią jej samej; jak w dziele sztuki, forma okazuje się nieodłączna od treści, stanowiąc samą jej istotę. (shrink)

The fundamental basis of the project concentrates upon an interactive manoeuvre involving Modern Continental Philosophy and the Postmodern Visual Arts. The primary components that structure the thesis conduct a Deleuzoguattarian "process” of action to produce a series of mechanisms designed to “open-up" a space in which to manifest a range of interpretations/translations that follow the developmentary trajectory of designated specific areas of art production. The primary aims concern the advance of the action to communicate an innovative/original set of expositions with (...) a view to both “animate" and enhance these designated perspectives. The structural framework of the project tracks through “passages'/lines of flight” that occur/result from the impact of the Deleuzoguattarian mechanisms upon chosen material - "Introduction" sets forth some guiding themes. “Tours of the Black Clock" elaborates the Nietzschean background that informs the philosophical basis of the complete project. “Electrolite”, “Where Angels Play", “Not to Touch the Earth” “Across” are sections designed to trace a number of alternative pathways through the major texts of the Deleuzoguattarian enterprise. “Becoming X" initiates a secondary movement of experimentation. “Animal Nitrate" effects “an encounter" with the work of painter Francis Bacon via the Deleuze text “Logique de la Sensation", “Time and Again" introduces and articulates a number of instances from Deleuzian film-theory “The Fountainhead” is the main section of the project which evolves a detailed process analysing the paintings of American painter David Salle “The Mirror of Enigmas" traces related Deleuzeoguattarian themes through the films of David Lynch, maintaining as a background an examination of Postmodern American culture/society. “Breaking into Heaven" returns to the more specific analysis of the late paintings of David Salle and uses the mechanics elaborated in Deleuze's book “Le Pli”. “Final Cut”/”Last Exit”/”Memorial Beach" is an attempt at a series of concluding remarks within the project divisions are resolved within a comprehensive Deleuzoguattarian structural system - evolving to be primarily defined in terms of two “active" processes/movements which engage theory and explanation, practice and application respectively, being therefore both a philosophical /academic debate while incorporating a high-level of “creative" experimentation. The first sections of the project detail an extensive series of explanatory “pathways/journeys” through the texts of Deleuze and Guattari with a view to indicating measures that can be deployed/utilized in a Deleuzoguattarian process of art/cultural analysis. Constructing the architectural pattern/”anatomy” of a series of interpretative surfaces to reflect the dimensions of the cultural material approached. The sections in the second part of the project enact a number of experimental designs, dispatching Deleuzoguattarian mechanisms in the body of the chosen cultural material. An interpretative surface is never under the influence of a single differentiated flow it constitutes the mutual boundary of numerous adjacent flows. The same interpretative surface is therefore available to be understood in as many different ways as there are adjacent flows along its fractural surface. This project is essentially a speculative enterprise, a philosophical experiment whose aim is to enhance, enlarge and intensify our “knowledge" of the area defined, through a synthesis, here labelled as a “Deleuzoguattarian process of Art analysis”. For Deleuze, thought creates what it thinks, as perception creates what it perceives. The philosophical concept does not refer to the lived, but consists through its own creation, in setting up an event that surveys the whole of the lived no less than every state of affairs Deleuzoguattarian philosophy does not establish a relationship “between” philosophy and other disciplines, other ways of making sure, but eliminates this relationship to the advantage of a type of “greater philosophy” Thought/Philosophy thinks the sufficient reason of the actual in this manner. For Nietzsche, whose enterprise constitutes the base/departure for the Deleuzoguattarian program, “the world" we know lies in our interpretation of it. However, the task of interpretation is not to discover “truth" but to “create" it. According to Nietzsche, there is no “world-in-itself, no unconditioned and stable entities that await our discovery, but a dynamic and turbulent “becoming" in which the forms we perceive are not separate from our interpretations of them Because we are ourselves part of this becoming, there is no vantage point from which it is possible to gain the absolute/unconditioned knowledge that we have imbued with the idea of “truth”. The exercise merely becomes self-reflective. However, despite this skepticism, Nietzsche realizes that the game of truth is unavoidable, so therefore he, and In consequence we, departing/initiating the pathways through this project, have to cast in the role of the philosopher who knows what he invents and invents while he knows. In Postmodern Art no style dominates. Alternatively we experience endless improvisations and variations on themes, parody/playfulness. Postmodern artists are unabashedly eclectic and call attention to it, combining traditions borrowing from rituals and myths. All the world's cultural symbols are now available in the public domain - “SANTA CLAUS IS ON THE CROSS". The Deleuzoguattarian process of art delineated is a play with the game of “truth” and not an explanation of a “whole" a description of the network of the "dynamic”/fluid nature of our transitional relationship to it. It is the flow of energy that encompasses what Deleuze/Nietzsche refer to as “the whole" A flow invokes the dynamic/fluid nature of becoming, while energy/activity implies a potentiality - the inherent capacity and growth actuated by the will to power. The flows of energy are manifested into differentiated flows within flows, “Ad infinitum” and powered by the parameters of state space - a potential i.e field defined by the characteristics of the subject flows associated Nothing exists in isolation Differentiation exists only via relations to other flows in a dynamic/non linear network of resistances. (shrink)