Roberto Esposito is one of the most prolific and important exponents of contemporary Italian political theory.

Deleuze and Guattari differentiate between philosophy, science, and the arts - seeing each as a means of confronting chaos - and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate this book, along with engaging discussions of composers, painters, writers, and architects.

A critique of capitalism and a manifesto for a new way of thinking, this book is also an introduction to the work of one of Europe's most radical thinkers. This edition includes a chronology of Guattari's life and work, introductions to both his general philosophy and to the work itself and extended notes to the original text.

The essays in this book present a complex theme at the heart of the philosophy of Gilles Deleuze, what in his last writing he called simply "a life." They capture a problem that runs throughout his work--his long search for a new and superior empiricism. Announced in his first book, on David Hume, then taking off with his early studies of Nietzsche and Bergson, the problem of an "empiricist conversion" became central to Deleuze's work, in particular to his aesthetics and (...) his conception of the art of cinema. In the new regime of communication and information-machines with which he thought we are confronted today, he came to believe that such a conversion, such an empiricism, such a new art and will-to-art, was what we need most. The last, seemingly minor question of "a life" is thus inseparable from Deleuze's striking image of philosophy not as a wisdom we already possess, but as a pure immanence of what is yet to come. Perhaps the full exploitation of that image, from one of the most original trajectories in contemporary philosophy, is also yet to come. (shrink)

A monumental work by an important modern philosopher, Matter and Memory (1896) represents one of the great inquiries into perception and memory, movement and time, matter and mind. Nobel Prize-winner Henri Bergson surveys these independent but related spheres, exploring the connection of mind and body to individual freedom of choice. Bergson’s efforts to reconcile the facts of biology to a theory of consciousness offered a challenge to the mechanistic view of nature, and his original and innovative views exercised a profound (...) influence on other philosophers--including James, Whitehead, and Santayana--as well as novelists such as Dos Passos and Proust. Matter and Memory is essential to an understanding of Bergson’s philosophy and its legacy. (shrink)

One of the major works of an important modem philosopher, Matter and Memory investigates the autonomous yet interconnected planes formed by matter and perception on the one hand and memory and time on the other. Henry Bergson (1859-1941) was awarded the Nobel Prize in 1927. His works include Time and Free Will, An Introduction to Metaphysics, Creative Evolution, and The Creative Mind.

This paper takes a recently published text and, in examining it closely, argues that it exemplifies trends within feminist scholarship in law, which might be characterised asestablishing a form of orthodoxy. The paper explores some of the ways in which thiso rthodoxy is constructed and presented, and argues that it is characterised by a commitment both to `grand theory' and Hegelian dialectics. The adoption of this model of work seems to offer a chance to hold together the triangular figure of (...) women/theory/law reform. The paper will argue that, whilst this model is clearly a valid choice, and attractive to feminist scholars in the promise it seems to hold, the model is not to be presumed but rather should be examined and considered in terms of its potential for feminist scholarship. Both within its own terms, and as part of the construction of an orthodoxy, the paper will argue that it is in fact problematic and that feminist scholarship would be better served by seeking an alternative theoretical model. An alternative is suggested, using the work of Deleuze, but it is acknowledged that this will require the acceptance of a very different theoretical configuration from that suggested by the triangular model of women/theory/lawreform. (shrink)

The final work by the author before his death in 1992, Chaosmosis is a radical and challenging work concerned with the reinvention and resingularization of subjectivity. It attempts to embody affective change, the short-circuiting of signification and the proliferation of sense necessary to engage with non-discursive, artistic, poetic and pathic intensities. It includes critical reflections on Lacanian psychoanalysis, structuralism, information theory, postmodernism, and the thought of Heidegger, Bakhtin, Barthes, and others.

The final work of the late philosopher Gilles Deleuze includes essays on such diverse literary figures as Herman Melville, Walt Whitman, D.H. Lawrence, Lewis Carroll, and others, along with philosophers Plato, Spinoza, Kant, and others. Taken together, these 18 essays--all newly revised or published here for the first time--present a profoundly new approach to literature.

Texts and interviews from the period that saw the publication of Deleuze's major works. People tend to confuse winning freedom with conversion to capitalism. It is doubtful that the joys of capitalism are enough to free peoples.... The American “revolution” failed long ago, long before the Soviet one. Revolutionary situations and attempts are born of capitalism itself and will not soon disappear, alas. Philosophy remains tied to a revolutionary becoming that is not to be confused with the history of revolutions.—from (...) Two Regimes of Madness Covering the last twenty years of Gilles Deleuze's life, the texts and interviews gathered in this volume complete those collected in Desert Islands and Other Texts. This period saw the publication of his major works: A Thousand Plateaus, Cinema I: Image-Movement, Cinema II: Image-Time, all leading through language, concept and art to What is Philosophy?. Two Regimes of Madness also documents Deleuze's increasing involvement with politics. Both volumes were conceived by the author himself and will be his last. Michel Foucault famously wrote: “One day, perhaps, this century will be Deleuzian.” This book provides a prodigious entry into the work of the most important philosopher of our time. Unlike Foucault, Deleuze never stopped digging further into the same furrow. Concepts for him came from life. He was a vitalist and remained one to the last. This volume restores the full text of the original French edition. (shrink)

_Foucault’s Law_ is the first book in almost fifteen years to address the question of Foucault’s position on law. Many readings of Foucault’s conception of law start from the proposition that he failed to consider the role of law in modernity, or indeed that he deliberately marginalized it. In canvassing a wealth of primary and secondary sources, Ben Golder and Peter Fitzpatrick rebut this argument. They argue that rather than marginalize law, Foucault develops a much more radical, nuanced and coherent (...) theory of law than his critics have acknowledged. For Golder and Fitzpatrick, Foucault’s law is not the contained creature of conventional accounts, but is uncontainable and illimitable. In their radical re-reading of Foucault, they show how Foucault outlines a concept of law which is not tied to any given form or subordinated to a particular source of power, but is critically oriented towards alterity, new possibilities and different ways of being. _Foucault’s Law_ is an important and original contribution to the ongoing debate on Foucault and law, engaging not only with Foucault’s diverse writings on law and legal theory, but also with the extensive interpretive literature on the topic. It will thus be of interest to students and scholars working in the fields of law and social theory, legal theory and law and philosophy, as well as to students of Foucault’s work generally. (shrink)

What potential can be found in the work of Deleuze and Guattari for critical legal scholarship? The authors argue that their work can be deployed to re-think ‘critique’ by directly addressing the place and role of the ‘critic’. It is argued that the continued commitment to a stance of ‘resistance’ in CLS is underpinned by never-ending dualisms which, if not confronted and replaced, can only make CLS ever more redundant. The authors ask: ‘what is critique beyond the dualism of power (...) and resistance, of state and nomad?’ This question arises from a belief that critique is still capable of being effective, but only if there is the courage to experiment, and to think creatively. In this sense, the ‘exhaustion’ of critique is framed as an opportunity to re-think and re-engage with the politics of law. The paper diagrams, through image and film, a critical thought: the potential of the artisan. Film is utilised not as representation, nor as illustration, but as a thinking mind in its own right, through which questions relating to the state, political action, and creative thinking can be framed. Such a re-framing is essential, it is argued, for an engagement with the emergence of societies of control. (shrink)

Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...) offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)

Earth Moves, Bernard Cache's first major work, conceptualizes a series of architectural images as vehicles for two important developments. First, he offers a new understanding of the architectural image itself. Following Gilles Deleuze and Henri Bergson, he develops an account of the image that is nonrepresentational and constructive—images as constituents of a primary, image world, of which subjectivity itself is a special kind of image. Second, Cache redefines architecture beyond building proper to include cinematic, pictoral, and other framings.Complementary to this (...) classification, Cache offers what is to date the only Deleuzean architectural development of the "fold," a form and concept that has become important over the last few years. For Cache, as for Deleuze, what is significant about the fold is that it provides a way to rethink the relationship between interior and exterior, between past and present, and between architecture and the urban. (shrink)

Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo Münsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as Béla Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and (...) filmmakers alike. FILMOSOPHY ® is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history theory and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author. (shrink)

Has biopolitics actually become thanatopolitics, a field of study obsessed with death? Is there something about the nature of biopolitical thought today that makes it impossibile to deploy affirmatively? If this is true, what can life-minded thinkers put forward as the merits of biopolitical reflection? These questions drive Improper Life.Campbell argues that a "crypto-thanatopolitics" can be teased out of Heidegger's critique of technology and that some of the leading scholars of biopolitics---including Michel Foucault, Giorgio Agamben, and Peter Sloterdijk---have been substansively (...) influenced by Heidegger's thought, particularly his reading of proper and improper writing. In fact, Campbell shows how all of these philosophers have pointed toward a tragic, thanatopolitical destination as somehow an inevitable result of technology. But in Improper Life he articulates a corrective biopolitics that can begin with rereadings of Foucault, Freud, and Gilles Deleuze. Throughout Improper Life, Campbell insists that biopolitics can become more positive and productively asserts an affirmation techne not thought through thanatos but rather through bios. (shrink)