Perhaps the question “What is philosophy?” can only be posed late in life, when old age has come, and with it the time to speak in concrete terms. It is a question one poses when one no longer has anything to ask for, but its consequences can be considerable. One was asking the question before, one never ceased asking it, but it was too artificial, too abstract; one expounded and dominated the question, more than being grabbed by it. There are (...) cases in which old age bestows not an eternal youth, but on the contrary a sovereign freedom, a pure necessity where one enjoys a moment of grace between life and death, and where all the parts of the machine combine to dispatch into the future a trait that traverses the ages: Turner, Monet, Matisse. The elderly Turner acquired or conquered the right to lead painting down a deserted path from which there was no return, and that was no longer distinguishable from a final question. In the same way, in philosophy, Kant’s Critique of Judgment is a work of old age, a wild work from which descendants will never cease to flow.We cannot lay claim to such a status. The time has simply come for us to ask what philosophy is. And we have never ceased to do this in the past, and we already had the response, which has not varied: philosophy is the art of forming, inventing, and fabricating concepts. But it was not only necessary for the response to take note of the question; it also had to determine a time, an occasion, the circumstances, the landscapes and personae, the conditions and unknowns of the question. One had to be able to pose the question “between friends” as a confidence or a trust, or else, faced with an enemy, as a challenge, and at the same time one had to reach that moment, between dog and wolf, when one mistrusts even the friend. Gilles Deleuze was professor of philosophy at the University of Paris VIII, Vincennes-St.-Denis, until his retirement in 1987. Among his books translated into English are the two-volume Capitalism and Schizophrenia , the two-volume Cinema , The Logic of Sense , and Expressionism in Philosophy: Spinoza . Daniel W. Smith is a doctoral candidate in philosophy at the University of Chicago. He is at work on a study of the philosophy of Deleuze, and is translating Deleuze’s Francis Bacon: Logique de la sensation. Arnold I. Davidson, executive editor of Critical Inquiry, teaches philosophy at the University of Chicago and is currently Marta Sutton Weeks Fellow at the Stanford Humanities Center. (shrink)

Difference and Repetition: Deleuze’s magnum opus, “Difference and Repetition” (1968), explores the interplay between difference and repetition. He argues that difference is fundamental to reality, and repetition is not mere duplication but a creative force. Deleuze challenges conventional notions of identity and sameness, emphasizing the productive potential of difference. Gilles Deleuze’s “Difference and Repetition” is a seminal work that challenges traditional Western metaphysics and offers a fresh perspective on concepts like identity, repetition, and creativity. Let’s explore (...) some key ideas from this remarkable book: Pure Difference: Deleuze argues that difference is fundamental to reality. Unlike classical philosophy that seeks universal truths, he emphasizes divergence and decentering. Each moment contains unique differences, and these differences shape our understanding of the world. Complex Repetition: Repetition, for Deleuze, isn’t mere duplication. Instead, it involves displacement and disguising. While repetition contributes to generality and thought, it’s the differences within each repetition that account for change and novelty. Concepts and things derive meaning from these differences. Shift Away from Hegel and Marx: “Difference and Repetition” played a crucial role in shifting French thought away from Hegel and Marx toward Nietzsche and Freud. Deleuze’s exploration of difference challenged established philosophical norms and paved the way for new perspectives. The Image of Thought: Deleuze critiques the traditional “image of thought,” which often relies on fixed identities and binary oppositions. Instead, he encourages us to embrace multiplicities, complexities, and the perpetual process of becoming. Asymmetrical Synthesis of the Sensible: Deleuze introduces the concept of asymmetrical synthesis, emphasizing the interplay between perception and affect. Reality is a dynamic, ever-changing process, not a static being. Copies are never identical; they’re something new. “Difference and Repetition” invites us to rethink how we perceive reality, emphasizing creativity, multiplicity, and the constant flux of existence. Deleuze’s work continues to inspire thinkers across disciplines, bridging philosophy with art, literature, and mysticism. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a (...) path between conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

Resumen: Resulta incuestionable la importancia que el filósofo francés Gilles Deleuze otorga al cinematógrafo. Conforme a su teoría del conocimiento, si la filosofía "piensa" mediante conceptos, el cine "piensa" mediante imágenes: se trata de un medio de creación artística a la vez que de reflexión (distinta de otras formas de "escritura") acerca de los problemas de la condición humana. De hecho, afirmamos que el propio pensamiento de Deleuze guarda mucho en común con las técnicas cinematográficas, al igual (...) que sucedería en la literatura del siglo XX, por ejemplo en James Joyce (en lengua anglosajona) y Jorge Luis Borges (en lengua castellana). -/- Abstract: There is no doubt as to the importance that cinematography has for the French philosopher Gilles Deleuze. According to Deleuze's theory of knowledge, just as philosophy "reasons" through concepts, cinema "reasons" by means of images. Cinema is a means of artistic creation and at the same time reflects in a way distinct from writing on the problems of the human conditions. In fact, this essay argues that Deleuze's own thought had much in common with cinematographic techniques, a relation which occurred in the twentieth century literature of James Joyce (in the English language) and Jorge Luis Borges (in the Spanish language). (shrink)

El 4 de noviembre de 2015 se cumplieron veinte años de la muerte del filósofo Gilles Deleuze. Para conmemorar su presencia viva compilamos este volumen, compuesto como un encuentro entre amigos que celebra la potencia del pensamiento y ofrece la leve inquietud de la aventura que nos arrastra más allá de nuestra área de comprensión, hacia una tierra espiritual en la que la filosofía habla a nombre propio, produciendo efectos, actualizaciones, compilaciones de lo disperso. Por eso, con ocasión (...) de esta conmemoración, no vamos a su encuentro como quien pone una corona a los pies de un monumento, sino como quien lleva flores a su tumba. Hemos renunciado a la fidelidad del comentario erudito de su obra, pues aspiramos a la soberana libertad de usarla para nuevos propósitos en función de una vida más rica y potente, que se afirme como obra de arte en tanto sea la "vivida sugestividad del poeta". Las flores aquí ofrecidas escapan a las exigencias de una incierta fidelidad. Son más bien los testigos y testimonios fecundos de efectos que estos textos empiezan a explorar. Sentimos en ellos gracia y encanto, belleza y gusto creador, pero sobre todo fuerza: la fuerza de unos textos que aspiran a hacer respirar algunos de los conceptos deleuzianos, a vivirlos en su realización práctica; textos que ríen y confabulan en la estela de la vida, aún si esta se hace cada vez más irrespirable: sin aire, también se puede vivir, si se es capaz de cambiar de atmósfera. (shrink)

In this essay, I will look closer at the death of the French philosopher Gilles Deleuze, who committed suicide in 1995. I will scrutinize his death in concordance with his philosophical thoughts, but frame my gaze within Albert Camus’ well-known opening- question from The Myth of Sisyphus: “Judging whether life is worth living amounts to answering the fundamental question of philosophy” (Camus, 2005:1).

The dissertation presents a systematic analysis of the work of the French philosopher Gilles Deleuze , using two interrelated themes as its guiding threads. The first is the concept of "difference," which is normally conceived as an empirical relation between two terms each of which have a prior identity of their own . In Deleuze, this primacy is inverted: identity persists, but it is now a secondary principle produced by a prior relation between differential elements. Difference here (...) becomes a transcendental principle that constitutes the sufficient reason of empirical diversity as such. The second theme thus concerns Deleuze's relation to Kant. Deleuze's philosophy, I argue, can be read as both an inversion and a completion of Kant's philosophy--a "transcendental empiricism," as Deleuze puts it. It entails a resumption of the critical project on a new basis and with an entirely new set of non-categorical concepts. Each chapter of the dissertation considers a philosophical domain that roughly parallels those laid out in the architectonic of Kant's three Critiques in order to examine the implications of the positing of a principle of difference in each of them: Dialectics, or the theory of the Idea; Aesthetics, or the theory of Sensation; Analytics, or the theory of the concept; Ethics, or the theory of affectivity; and Politics, or social theory. Taken together, the five chapters attempt to present the broad outlines of Deleuze's philosophy of difference, and to indicate the nature of its demands in each of these domains. (shrink)

Admitiendo, con René Schérer, que la filosofía de Deleuze puede leerse como una teoría de la literatura y la escritura, y dado que tal filosofía constituye un punto cimero del pensamiento dedicado a combatir la representación, este ensayo quisiera aplicar dicha teoría al terreno de la imagen pictórica, articulando la lectura que de Bacon realiza el filósofo en torno a un desarraigo -o desterritorialización- del sentido básico, dominante en pintura: la vista, desplazándose así desde un principio la visión por (...) el tacto, lo visible por lo táctil (aquello que, más que resultar palpable, toca), lo óptico por lo háptico. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology I will consider has (...) a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

Traversing the genres of philosophy and literature, this book elaborates Deleuze's notion of difference, conceives certain individuals as embodying difference, and applies these conceptions to their writings.

Discussione sul testo di Rocco Ronchi "Gilles Deleuze. Credere nel reale". Per un pensiero della temporalità della filosofia come Fuori assoluto.

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and (...) his development of a logic of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

La presente investigación se propone mostrar la génesis y desarrollo de la tentativa matriz de la filosofía de Gilles Deleuze, el empirismo trascendental. Para ello, se realizará una revisión de las problemáticas por las que atraviesa dicha tentativa a lo largo de la obra de este pensador. Cuidadosa atención recibirán a propósito de la génesis del empirismo trascendental el problema del hábito y el de la constitución de la subjetividad, que Deleuze reconoce en Hume (Empirisme et subjectivité, (...) 1953). A partir de ellos, se establecerán los caracteres principales del que se identifica como problema de los principios, en cuyo seno se define una relación particular entre principio y génesis. Gracias al establecimiento riguroso de dicha relación, Deleuze integra los aportes del empirismo y los de la filosofía trascendental bajo una misma propuesta filosófica. Esta propuesta tendrá a la vista el desarrollo de una crítica sistemática hacia lo dado, con lo cual tanto el objeto como el sujeto del pensar precisarán ser sometidos a una indagación acerca de su génesis. Definido el empirismo trascendental como la tentativa filosófica que apunta a pensar la génesis trascendental o actualización de lo dado, esta investigación espera dar cuenta del ámbito de dicha génesis así como de los principios de determinación que la rigen. Para ello se estudiarán las nociones de campo trascendental, plan de inmanencia y continuo ideal (Différence et répétition, 1968; Logique du sens, 1969). Al abordar esta última noción, se pondrá especial interés en dilucidar la reformulación que efectúa Deleuze de los princip ios de razón suficiente, de indiscernibilidad y de continuidad de Leibniz (Le Pli, 1988). (shrink)

What does it mean to think? In the following article I will show Gilles Deleuze’s answer to this question. According to him ’to think is to create — there is no other creation — but to create is first of all to engender ' thinking ' in thought ’. To understand what this means, to grasp the radical nature of such an event, we need to see how for Deleuze to engender thinking in thought means a repetition (...) of that genetic process which has brought forth the thinking subject in the first place. In this event that which otherwise subsists beneath normal experience, as life- and consciousness sustaining forces, now become conscious experience. The implication of this is that true thinking means the creation of a new life and consciousness. Via a close-reading of chapter two of Difference and Repetition I show how this leads the thinker into a radical metamorphosis of consciousness, a process of Stirb und Werde. (shrink)

This essay aims at inspecting the question of evil within Gilles Deleuze’s thought, focusing especially on his historical-philosophical works. I will attempt to show how, for Deleuze, the question of evil represented the most difficult issue to overcome in the construction of his vitalistic materialism, the latter established on the complete overlapping of ontology and ethics. By reconstructing the gradual composition of such «pure ontology» through Deleuze’s interpretations of Hume, Bergson, Spinoza, and Nietzsche, I will eventually (...) define his vitalistic materialism as a biodicy that makes the question of evil ethically irrelevant for the sake of individuals’ freedom to express their vitality. The main consequence of such a biodicy is the definition of a dichotomous relationship between suffering and freedom that risks justifying natural inequalities subsisting among living beings. (shrink)

What is Schizoanalysis? (An Introduction to Gilles Deleuze & Felix Guattari) -Irfan Ajvazi.

Gilles Deleuze’s research during the 1980s focused on the 17th century German thinker G. W. Leibniz. In 1988, Deleuze published Le Pli, which forms part of a series of works on modern philosophy. This book displays Deleuze’s attention to the interpretations of contemporary commentators on modern philosophy, in this case, on Leibniz. In this context, there occurred a brief and important dialogue between Deleuze and Christiane Frémont, the French commentator and translator of Leibniz, with regard (...) to their respective interpretations of the great German philosopher. This article intends to give an account of the main topics present in that conversation. Firstly, we can say they involve 1) the problem of body and the Leibnizian vinculum substantiale, 2) the question of singularities, 3) the principle of economy and incompossibility, and 4) the Deleuzian concept of vice-diction. Our hypothesis in this study is that the readings made by both authors of the German thinker are mutually involved. It is essential, in order to support this hypothesis, to make precise the demarcations of relations between such readings. For this reason, our research will focus on Frémont’s study Singularités, individus et relations dans le système de Leibniz (2003) and on Deleuze’s work Le Pli (1988). We hope to determine the topics that emerge in the relationship, and to specify convergences and divergences of interpretation. (shrink)

Das Verhältnis von Einheit und Vielheit als ein Grundproblem der Philosophiegeschichte erfährt in den Werken von zwei der gegenwärtig einflussreichsten französischen Denker, Gilles Deleuze und Jean-Luc Nancy, eine je spezifische Reformulierung mit weitreichenden ontologischen sowie politischen Konsequenzen. Durch einen innovativen, aber dennoch einführenden Vergleich kontrastiert und verschränkt Ralf Gisinger erstmalig Ansätze beider Philosophen, indem er sein originäres Konzept der „Pluralisierung“ entwickelt. In einem Feld zwischen Allgemeinheit und Partikularität lassen sich so insbesondere klassische Kategorien der politischen Philosophie wie Identität, (...) Subjekt oder Gesellschaft radikal neu begreifen. -/- Gilles Deleuze and Jean-Luc Nancy, two of the most influential thinkers of our time, both engage with the classic philosophical problem of the one and the many. Ralf Gisinger develops his original concept of ‘pluralization’ by contrasting and intersecting these two philosophers, while shedding a light on the consequences of these pluralizations on an ontological as well as political level regarding notions like identity, subject or society. (shrink)

Das Verhältnis von Einheit und Vielheit als ein Grundproblem der Philosophiegeschichte erfährt in den Werken von zwei der gegenwärtig einflussreichsten französischen Denker, Gilles Deleuze und Jean-Luc Nancy, eine je spezifische Reformulierung mit weitreichenden ontologischen sowie politischen Konsequenzen. Durch einen innovativen, aber dennoch einführenden Vergleich kontrastiert und verschränkt Ralf Gisinger erstmalig Ansätze beider Philosophen, indem er sein originäres Konzept der „Pluralisierung“ entwickelt. In einem Feld zwischen Allgemeinheit und Partikularität lassen sich so insbesondere klassische Kategorien der politischen Philosophie wie Identität, (...) Subjekt oder Gesellschaft radikal neu begreifen. Gilles Deleuze and Jean-Luc Nancy, two of the most influential thinkers of our time, both engage with the classic philosophical problem of the one and the many. Ralf Gisinger develops his original concept of ‘pluralization’ by contrasting and intersecting these two philosophers, while shedding a light on the consequences of these pluralizations on an ontological as well as political level regarding notions like identity, subject or society. (shrink)

Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e (...) sonora pura. Per quanto attiene specificamente lo statuto filosofico dell’immagine, si può dire che sia proprio questo passaggio che consente a Deleuze stesso di modulare la sua riflessione riponendo maggiore attenzione all’elemento temporale rispetto invece al movimento — concetto dal quale, ciononostante, l’indagine sul cinema aveva preso abbrivio. (shrink)

This chapter explores the possibility of an alliance between Deleuze’s philosophy and feminist philosophy with respect to ethics. I begin by specifying some of the general points of convergence between Deleuzian ethics and feminist ethics. In the second section, I turn away from feminist ethics in particular to consider feminist engagement with Deleuze’s (and Deleuze and Guattari’s) work; in this section of the paper, I describe the central criticisms of Deleuze offered by feminist philosophers and point (...) out the aspects of his thought that have been valuable for feminist theorizing. In order to respond to what I take to be the overarching concern feminists have about Deleuze’s philosophy, the third section develops a proposal for a Deleuzian conception of ethics that is able to do (much of) what feminists require of an ethical theory. (shrink)

Gilles Deleuze was one of the most influential philosophers of the twentieth-century, and Smith is widely recognized to be one of his most penetrating interpreters, as well as an important philosophical voice in his own right. Combining his most important pieces over the last fifteen years along with two new essays, this book is Smith 's definitive treatise on Deleuze. The essays are divided into four sections, which cover Deleuze's use of the history of philosophy, an (...) overview of his philosophical system, an analysis of several Deleuzian concepts, as well as an assessment of his position within contemporary philosophy. (shrink)

In light of some Gilles Deleuze’s texts in which he studies the stupidity and error problems, the conflict between heterodox investigations and traditional methods that The X-Files raises can be studied. One discovers that the reasons why Mulder wants to replace a kind of investigation with another and the process through which he performs this transformation are similar to the ones that work on Deleuze’s Images of Thought. Taking into account the impossibility of solving certain problems, which (...) are usually understood as empirical setbacks or insolvable by right, Mulder and Deleuze defend giving up the police method and the dogmatic image of thought, respectively, and searching for other possible structures that do enable them to face up to these problems. Although this non-detective, non-thinker condition must be crossed in order to solve them, this state that makes any supposedly universal method dubious is by the French thinker called "stupidity.". (shrink)

What is the concept of sense developed by Deleuze in his 1969 Logic of Sense? This paper attempts to answer this question analysing the three dimensions of language that Deleuze isolates: the primary order of noises and intensities ; the secondary order of sense ; and the tertiary organisation of propositions. What renders language possible is that which separates sounds from bodies and organises them into propositions, freeing them for the expressive function. Deleuze argues that it is (...) the dimension of sense that brings about this genesis of language, and he analyses in detail the three syntheses that bring about the production of this surface of sense. Yet Deleuze also distinguishes between two types of non-sense: the nonsense of Lewis Carroll's portmanteau words, which remain ensconced in the dimension of sense, and the more profound nonsense of Antonin Artaud's psychotic scream-breaths, which penetrate the almost unbearable world of the primary order of noise and intensities. In the end, the focus of Logic of Sense is less the surface domain of sense than the primary depth of corporeal intensities. What Deleuze calls a ‘minor’ use of language is nothing other than an intensive use of language that constitutes a principle of metamorphosis. (shrink)

This article is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see (...) that Deleuze already perceived tensions within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)

Este artículo extrapola conceptos cinematográficos que desarrollan Gilles Deleuze y Alain Badiou, tales como movimiento, cuadro, plano y montaje. El propósito de corroborar estas categorías es para articularlas en el largometraje del director Melinton Eusebio, Jarjacha. El demonio del incesto (2000), y detectar la cosmovisión concomitante que prevalece en una localidad distanciada de la capital, caracterizada por la presencia andina de una tradición y una organización política basada en el sometimiento de una localidad hacia un alcalde, quien dictamina (...) y castiga a través de una personificación endemoniada. Este análisis será factible, una vez que se diferencien los instantes privilegiados y ordinarios, que abarcan las escenas de la película de acuerdo con su intencionalidad. De ese modo, se comprenderá el funcionamiento del filme desde una perspectiva más contundente y eximia para el espectador, además de que logrará reconocer los momentos fundados desde la realidad y lo real. (shrink)

Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e (...) sonora pura. Per quanto attiene specificamente lo statuto filosofico dell’immagine, si può dire che sia proprio questo passaggio che consente a Deleuze stesso di modulare la sua riflessione riponendo maggiore attenzione all’elemento temporale rispetto invece al movimento — concetto dal quale, ciononostante, l’indagine sul cinema aveva preso abbrivio. (shrink)

La temporalità è una questione che innerva la filosofia di Gilles Deleuze nel suo complesso. Il tempo è implicato pressoché ovunque nel suo corpus di opere, talvolta in forma più esplicita, talora più allusiva. Ma la temporalità è strettamente correlata alla radicale rivisitazione che il filosofo parigino attua del concetto kantiano di trascendentale. Attraverso l’analisi compa- rata di questi due orizzonti concettuali, si può osservare come, a priori rispetto all’ordinaria scansione cronologica mediante la quale l’uomo ordina la propria (...) esperienza, si dia un tempo genuinamente puro, che coincide, considerato nella sua dimensione autenticamente trascen- dentale, con il carattere virtuale del divenire. Tuttavia, quel che è ancor più rilevante, è l’intima relazione che unisce il progetto deleuziano di rivisitazione del trascendentale, con la tema- tizzazione di una temporalità complessa, che consente di prospettare la filosofia di Deleuze come quel sostrato teoretico di fondamentale importanza per provare a superare il paradig- ma epistemologico di un antropocentrismo dominante e tentare così di pensare oltre l’umano. (shrink)

This article discusses the place that the concept of rhythm occupies within Gilles Deleuze’s phi- losophy. I present a panorama of different ways to conceptualize thought throughout Deleuze’s writings from 1960’s to 1990’s, emphasizing the discussion about the threshold of thought. In the writings in partnership with Félix Guattari, Deleuze understand thought as an act of confronting chaos, what makes the problem of consistency a point of extreme relevance within his philosophical system. In this framework, the (...) concept of thought is described as a tension between consistency and infinite speed (chaos). In order to elaborate this concept of thought, Deleuze resumes his con- ceptualization of the three syntheses of the time and formulates with Guattari the concept of re- frain. I will show that the refrain is at the axis of an epistemological shift in the whole program of transcendental philosophy, by affirming a necessarily heterogeneous and aberrant Time, which features the concept of rhythm as the genetic element of difference. Within this conceptual frame- work, I follow the authors’ suggestion that the logic of schizoanalysis is analogous to the logic of subtractive sound synthesis. The main goal is to demonstrate that rhythm is at the core of Deleu- zian concept of difference and sound is at the core of Deleuzian concept of thought. (shrink)

This book posits that a singular paradigm in social theory can be discovered by reconstructing the conceptual grammar of Gabriel Tarde’s micro-sociology and by understanding the ways in which Gilles Deleuze’s micro-politics and Michel Foucault’s micro-physics have engaged with it. This is articulated in the infinite social multiplicity-invention-imitation-opposition-open system. Guided by infinitist ontology and an epistemology of infinitesimal difference, this paradigm offers a micro-socio-logic capable of producing new ways of understanding social life and its vicissitudes. In the field (...) of social theory, this can be called the infinitesimal revolution. (shrink)

Considerando traços da conceptualização das noções de “repetição” e “hábito”, presentes em Empirisme et subjectivité (DELEUZE, 1953, em diante ES), esperamos fazer algumas anotações acerca do percurso que leva até Différence et répétition, tese que Deleuze apresenta em 1968 (doravante DR), cujo capítulo II se debruça na constituição da síntese do presente. Para tanto, será necessário estabelecermos duas etapas na determinação desse percurso. Na primeira etapa, abordaremos a forma em que Deleuze descreve o hábito como princípio complementar (...) ao princípio de experiência na construção do conhecimento. A segunda etapa do percurso requer detalhar a forma em que se produz a articulação das noções citadas em DR. (shrink)

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a (...) theory of encounter as developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

En este texto nos proponemos abordar la última clase del semanario de Deleuze sobre el poder en Foucault a partir de dos momentos. El primero tiene que ver con el concepto de imagen y la interpretación sobre el cine que ya venía siendo una constante —aunque marginalmente— en estas clases de Deleuze. Seguidamente, el segundo momento tiene que ver con la relación entre poder y resistencia que arroja como resultado una interpretación del pensamiento de Foucault por parte de (...) Deleuze como una obra viva y en constante construcción. Así, cumpliremos con la exigencia de una lectura que invita a pensar en los conceptos como herramientas de análisis integradas al desarrollo de situaciones donde el poder se presenta como noción central. (shrink)

Eleven top Deleuze scholars reclaim Deleuzian philosophy as moral philosophy Ethics plays a crucial, if subtle, role in Gilles Deleuze's philosophical project. Michel Foucault claimed that Anti-Oedipus was `a book of ethics, the first book of ethics to be written in France in quite a long time'. But what is the nature of the immanent ethics that is developed in Deleuze's thought? How does it differ from previous conceptions of ethics? And what paths does it open (...) for future thought, given the ethical challenges facing humanity in so many domains? Each of the eleven essays in this collection explores the ethical dimension of Deleuze's thought along a new and singular trajectory, and in so doing, attempts to reclaim his philosophy as an ethical philosophy. (shrink)

This essay has two parts. The first part gives a brief overview of the foundations of economics. The second part contains a broader outline of the way in which philosopher Gilles Deleuze thinks of ethics. In the second part, I also explore the potential connections between Deleuze's thoughts and economics. Especially, I focus on the concepts of "human capital," "empowerment," and more fruitful, the concept of "power-with" as proposed by organizational theorist, Mary Parker Follett. By doing so, (...) I try to minimize the gap between economics and ethics as presented here. Finally, I determine whether it is possible to do business with Deleuze. (shrink)

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)

In 1990, Gilles Deleuze publishedPostscript on the Societies of Control, an introduction to the potentially suffocating reality of the nascent control society. This thirty-year update details how Deleuze’s conception has developed from a broad speculative vision into specific economic mechanisms clustering around personal information, big data, predictive analytics, and marketing. The central claim is that today’s advancing control society coerces without prohibitions, and through incentives that are not grim but enjoyable, even euphoric because they compel individuals to (...) obey their own personal information. The article concludes by delineating two strategies for living that are as unexplored as control society itself because they are revealed and then enabled by the particular method of oppression that is control. (shrink)

This chapter is concerned with two distinct but related questions: (a) does Deleuzian philosophy offer an account of moral norms (i.e., a theory of normativity)? (b) does Deleuzian philosophy offer an account of moral values (i.e., a theory of the good)? These are important questions for at least two reasons. First, the moral- and value-theoretical aspects of Deleuzian philosophy have tended to be ignored, dismissed, overlooked, or otherwise overshadowed in the literature by the ontological, historical, and political aspects. Second, (...) class='Hi'>Deleuze – along with other alleged “postmodernists” such as Foucault and Derrida – has occasionally been accused of moral relativism, skepticism, and even nihilism. The aim of what follows is to demonstrate the value and importance of Deleuze's (and Guattari's) contributions to ethics and to defend Deleuzian philosophy from the charges just mentioned. (shrink)

Gilles Deleuze was born in 1925, and died by his own hand 70 years later. He taught philosophy in the French lycée system, at the University of Lyon, and then—after the institutional fragmentation that was the government‟s response to the student-driven near-revolution of 1968—at the University of Paris VIII (Vincennes). Although his work is only now coming to prominence in the Anglophone world, he has achieved great notoriety in France: he is widely credited with inaugurating the post-structuralist movement (...) with his 1962 Nietzsche and Philosophy, as well as with providing its definitive text, the 1972 Anti-Oedipus (co-written with Félix Guattari). His colleague and friend, Michel Foucault, has gone so far as to suggest that 'perhaps one day this century will be known as Deleuzian'. (shrink)