To concretize my discussion of relational autonomy and collective intentionality, I present a case study in which we can see several themes in that scholarly literature exemplified in a real‐life event. The event in question is the Megan Rapinoe‐Abby Wambach goal in the quarterfinals of the Women's World Cup of 2011, one of the greatest in all World Cup history (A video clip of the goal can be found at:https://www.youtube.com/watch?v=0B4q6di‐3fg.). In the case study, I concentrate on the ontological status of (...) two key aspects of soccer, the linking of teammates by a pass, and the emergence of the team from the interactions of players. I use concepts drawn from poststructuralism, phenomenology, and enactivist approaches to embodied cognition. (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)

This thesis suggests that Deleuze’s early philosophy, culminating in Difference and Repetition and The Logic of Sense, unfolds as a polemic between two structural positions – the problematic and the dialectic. This polemic sheds light on “political” aspects in Deleuze’s work as a student of authors such as Jean Hyppolite, Jean Wahl, Martial Guéroult and Ferdinand Alquié, in a period in which he places critical weight on the attempt to escape the constraining influence of their positions. Reading Bergson, Nietzsche, Hume, (...) Kant and Hegel through his teachers, Deleuze seeks to expunge from his thought every trace of their mediation, so as to be able to pose new problems for philosophy. To this end Deleuze puts forward the notion of philosophy as being essentially problematic, irreducible to empiricist, transcendentalist or dialectic dispositions and delineated by unique problems. This notion is established as a calculated move marked by an anti-Hegelian rhetoric, Hegel being the epitome of “old” metaphysical problems that must be overcome. The introduction of Deleuze’s critique of his teachers, who could be considered somewhat marginalised authors from the more recent history of French philosophy, and the establishment of the problematic-dialectic dyad as fundamental to Deleuze’s development as a philosopher, hopes to bring out critical aspects of his work that remain strategically buried in the text. Chapter one introduces Deleuze’s triangulation of Hyppolite-Guéroult-Alquié starting from his confrontation with Hyppolite’s Logic and Existence and continuing to his early efforts to put forward a satisfying “middle ground” with respect to these authors’ disparate positions, from which emerges a unique preoccupation with problems that will persist in Deleuze’s work throughout the 1950s and 60s. Chapter two examines the extent to which Nietzsche and Philosophy is a critical response to Hyppolite’s renowned interpretation of Hegel’s The Phenomenology of Spirit, Genesis and Structure, a response which amounts to Deleuze’s interpretation of eternal recurrence as an anti- Hegelian mode of problematization, and which would later be transformed into the Deleuzian project of the overturning of Platonism. Chapter three is a reading of Empiricism and Subjectivity as an anti-Hegelian polemic profoundly inspired by Wahl’s vision of empiricism as a problematic and problematizing theory that responds to Hegel’s critique of “self-certainty” and of empiricism in general. Chapter four considers Deleuze’s Kantianism a strategic endeavour to shift the tectonics of philosophical rigor from a preoccupation with the Absolute as the ultimate ground for knowledge, to a revival of the problematic Idea as that which incites experimentation with the “thickness” of sensibility demolished in the first moment of the Hegelian dialectic, a shift whose successfulness is placed in question. (shrink)

This paper proposes a new approach to the performance of Schumann’s music, in particular to his song cycle Dichterliebe op. 48. Starting from the many productive instabilities and inconsistencies that characterize the compositional approach in Dichterliebe, I ask under which conditions we could think a performance practice that embraces these inconsistencies instead of stabilizing them into a finished performance. To do so, I propose the appropriation from music performance of the philosophical notion of “the problem” as formulated by Gilles Deleuze, (...) connecting it with the “pre-individual” in Gilbert Simondon and the notion of “outside,” mostly in the acceptation of Maurice Blanchot and Michel Foucault. A critique is enacted of what I suggest calling the traditional “image of musical thought.” From this critique can emerge a performance practice that moves away from the “problem of performance,” regarded in its traditional form as a representative practice oriented towards recognition, and that embraces instead the “performance of the problem,” where the problematic dimension of Schumann is enhanced and further dynamized. (shrink)