The purposes of this paper are, first, to show the importance within Deleuze's aesthetics of the notion of the Gestalt, conceived as a figure against a background, and second to show that recognizing the importance of this notion leads to a sympathy for themes in the work of Merleau-Ponty. After showing the motivations for Merleau-Ponty's adoption of the concept of the Gestalt, and its application within Eye and Mind, I wish to show that despite the similarities in their analyses Merleau-Ponty's (...) analysis is ultimately incapable of providing a complete description of the work of art. (shrink)

Praised for its rare combination of scholarly rigor and imaginative interpretation, _Nietzsche and Philosophy_ has long been recognized as one of the most important analyses of Nietzsche. It is also one of the best introductions to Deleuze's thought, establishing many of his central philosophical positions. In _Nietzsche and Philosophy_, Deleuze identifies and explores three crucial concepts in Nietzschean thought-multiplicity, becoming, and affirmation-and clarifies Nietzsche's views regarding the will to power, eternal return, nihilism, and difference. For Deleuze, Nietzsche challenged conventional philosophical (...) ideas and provided a means of escape from Hegel's dialectical thinking, which had come to dominate French philosophy. He also offered a path toward a politics of difference. In this new edition, Michael Hardt's foreword examines the profound influence of Deleuze's provocative interpretations on the study of Nietzsche, which opened a whole new avenue in postwar thought. (shrink)

The conditions of creation -- Actual creatures, virtual creatings -- Creatural confinement -- Creative subtraction -- Creation mediated : art and literature -- Creation unmediated : philosophy.

The latest book by the Slovenian critic Slavoj Zizek takes the work of French philosopher Gilles Deleuze as the beginning of a dazzling inquiry into the realms of radical politics, philosophy, film (Hitchcock, Fight Club ), and psychoanalysis. Of Organs without Bodies Joan Copjec ( Imagine There's No Woman ) has written: "With all his ususal humor and invention, Zizek -- the acknowledged master of the 180 degree turn -- here takes a trip into "enemy" territory to deliver Deleuze of (...) a marvelously rebellious child, one that seriously challenges Deleuze's other progeny with a surprising but convincing bid for succession. Those who thought Deleuze's forward march into the future would follow a straight path are forced to rethink their stance. From now on all readings of Deleuze will have to take a detour through this important -- even necessary -- book." Eric Santner ( On the Psychopathology of Everyday Life ) describes Organs without Bodies as offering "an entirely new degree of conceptual clarity and political urgency. Through his deep engagement with the logic of Deleuze's project, Zizek opens up new possibilities of thought beyond the terms of the current political debates on globalization, democratization, war on terror. Once again, Zizek has produced an utterly timely and radically untimely meditation." Recently profiled in The New Yorker , and hailed by the Village Voice as "the giant of Ljubljana," Zizek is one of the most provocative and entertaining thinkers at work today. (shrink)

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (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)

In this paper I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the non-intentional relation that painting (...) opens up is itself part of and emerges out of the representational force of painting. If this would not be the case, then the criterion for differentiating between paintings and other objects cannot be developed. Indeed, Deleuze fails to give us a criterion. Second, Deleuze’s way of dealing with materiality in painting remains unsatisfactory, insofar as he is unable to take into account how materiality is charged with an “attitude towards the world.” In sum, materiality can only be painting’s materiality if we understand it as being formed and disclosed in representation. (shrink)

This book, which presents Spinoza's main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical ...

Informed by the philosophy of the virtual, Keith Ansell Pearson offers up one of the most lucid and original works on the central philosophical questions. He asks that if our basic concepts on what it means to be human are wrong then, what is this to mean for our ideas of time, being, consciousness? A critical examination ensues, one informed by a multitude of responses to a large number of philosophers. Under discussion is the mathematical limits as found in Russell, (...) questions on Relativity, Kant's notion of judgement, Popper, Dennett, Dawkins and Proust. He brings into the rapport the concepts of Bergson and their explosive insights into the idea of time. (shrink)

In this essay I critique a particular reading of Bergson that places an excessive weight on the concept of the ‘virtual’. Driven by the popularity of Deleuze’s use of the virtual, this image of Bergson (seen especially through his text of 1896, Matter and Memory, where the idea is introduced) generates an imbalance that fails to recognise the importance of concepts of actuality, like space or psychology, in his other works. In fact, I argue that the virtual is not the (...) key concept for Bergsonism and that there is a good deal of evidence in Bergson’s other writings, especially those connected with his actualist notion of ‘refraction’, to think of him as a perspectivist philosopher. Moreover, it will be seen that Virtualism resides within an economy of reflection that is subsumed within the broader paradigm of Actualist refraction. Taking these optical metaphors seriously, the virtual becomes a perspectival image seen from an actual position, or rather, an interacting set of actual positions. This interaction is termed ‘virtualization’, denoting the substitution of a substantive conception with a processual one. In the first two parts of the essay, I direct my remarks more towards Deleuzian readings of the actual rather than Deleuze himself (Deleuze is so open about the biases he brings to his reading of Bergson as to be beyond criticism). In the second two sections, I pursue a philosophical argument for the probity of a non-Virtualist position as such within philosophy, based upon the concept of refraction. This is done not only because it is important that we remain open to other readings of Bergson that are not so heavily mediated in one direction, but also in view of the power of refraction as a new concept for reconciling actual modes such as molar identity, the present, and extension, with their virtual opposites. (shrink)

In this paper, I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the nonintentional relation that painting (...) opens up is itself part of andemerges out of the representational force of painting. If this would not be the case, then the criterion for differentiating between paintings and other objects cannot be developed. Indeed, Deleuze fails to give us a criterion. Second, Deleuze’s way of dealing with materiality in painting remains unsatisfactory insofar as he is unable to take into account how materiality is charged with an “attitude toward the world.” In sum, materiality can only be painting’s materiality if we understand it as being formed and disclosed in representation. (shrink)

Machine generated contents note: 1.What is a Concept? -- 2.Why Philosophy? -- 3.How to Become a Philosopher -- 4.Putting Philosophy in its Place -- 5.Philosophy and Science -- 6.Philosophy and Logic -- 7.Philosophy and Art.

In this paper, I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the nonintentional relation that painting (...) opens up is itself part of andemerges out of the representational force of painting. If this would not be the case, then the criterion for differentiating between paintings and other objects cannot be developed. Indeed, Deleuze fails to give us a criterion. Second, Deleuze’s way of dealing with materiality in painting remains unsatisfactory insofar as he is unable to take into account how materiality is charged with an “attitude toward the world.” In sum, materiality can only be painting’s materiality if we understand it as being formed and disclosed in representation. (shrink)

With a new introduction by the author In this deliciously polemical work, a giant of cultural theory immerses himself in the ideas of a giant of French thought.