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)

The aim of this dissertation is to develop an account of Gilles Deleuze’s philosophical project as a departure from ontology and ontological thinking. Ontology can be broadly understood as the study of being or the study of the meaning of being. Traditional ontology examines the nature of being while more contemporary philosophy often understands being itself as becoming or a process. In this respect, Deleuze has often been interpreted as a process or differential ontologist. This project departs (...) from that interpretation by arguing for a non-ontological Deleuze. The dissertation is broken into three papers where each presents a different account of what I call the non-ontological Deleuze through his work on the major pre-Kantian modern philosophers: David Hume, Benedict Spinoza, and Gottfried Leibniz. Each paper then uses the non-ontological Deleuze to engage with a related movement in post-Deleuzian Continental Philosophy. The first paper focuses on Deleuze’s early work on Hume to argue for a re-reading of the history of modern philosophy with a basis in transcendental empiricism rather than Kantian transcendental idealism. This paper uses Deleuze’s reading of Hume to respond to and critique the Speculative Realist movement’s charge that post-Kantian philosophy suffers from what they call correlationism. The second paper uses Deleuze’s work on Spinoza to argue for what the former calls ethology as a replacement for ontology. The claim here is that we should think of things in terms of what they do rather than what they are: in terms of their motion and affects rather than their being. There I contrast my reading of Deleuze’s Spinoza with those thinkers who have recently used that work to develop what is often referred to as New Materialism. The final paper argues that understanding things in terms of what they can do requires a nomadology, which is Deleuze’s play on Leibniz’s monadology. This paper uses Deleuze’s nomadology to create a dialogue with the emerging literature on Critical Posthumanism and subjectivity that has been influenced by Deleuze to suggest that posthumanist subjectivity should be understood in non-ontological terms. (shrink)

[Presented at the 52nd Annual Conference of the Society for Phenomenology and Existential Philosophy (SPEP), University of Oregon, 24-26 October. Part of the panel Events, Actions and the Problem of Agency in the Wake of Deleuze’s Logic of Sense, organized in collaboration with Sean Bowden and James Williams.] In this paper I will bring the positions of Gilles Deleuze and Paul Ricoeur into proximity with each other in order to draw out points of conflict. I do not (...) aim to solve these conflicts, nor to develop them into a full clash. Rather, I will show that both Ricoeur and Deleuze develop a theory of novelty that can be characterized as a reversal of Platonism. These theories are not opposed per se, but they differ in orientation. Deleuze situates novelty in the virtual event. This virtual event can be understood as a singular point of transition that transforms one system into another. Or to catch the event in a somewhat more concrete image, it is a kind of metamorphosis (in Kafka’s sense). In contrast, Ricoeur situates novelty in human actions that are played out as a fruitful tension between two poles. This tension opens up a field of potentiality in which new ideas and novel meanings can emerge. Ricoeur has analysed this tension on many levels. Its most basic structure can be found in what Ricoeur calls a living metaphor. This living metaphor is itself something ‘in action’; it brings two opposed semantic fields into a fruitful tension with each other. This tension reveals a previously unnoticed proximity between these two semantic fields, without destroying their distance. In this way a new, third semantic field is opened up that is only given in potential. Ricoeur argues that it is within tensions like this that generative differences arise, resulting in new ideas and novel meanings. The main point of divergence between Deleuze and Ricoeur can therefore be framed in two contrasting pairs: virtual event versus human action; point of transition versus tension (or: metamorphosis versus metaphor). (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)

In his account of the individuation and creation of thinking in Difference and Repetition Gilles Deleuze claims that there belongs “an experience of death.” What does this mean and imply for an attempt to come to terms with Deleuze’s transcendental empiricism? The following article presents a reading that explores this question, arguing that Deleuze’s account of what it means to think has two aspects that must be understood in relation to each other. On the one hand, (...) Deleuze’s ontology of intensive difference involves an image of human individuation grounded upon a “death present in the living.” On the other hand, Deleuze writes that in the creation of “thinking in thought” there is an experience of death. Understanding the relation between the individuating aspect of death – as the emergence of the pure and empty form of time as the basis for representational thinking and judgement – and the experience of this individuating factor in the creation of thinking in thought, Deleuze’s claim can be made sense of and its centrality in his system clarified. When death as an individuating factor becomes experience, thinking is transmuted from dead representation to intensive life, and transcendental empiricism is operationalized. (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)

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)

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)

In the following paper I develop an account of Gilles Deleuze’s ethics through his work on Spinoza, which he contrasts with morality, to argue that an ethical response to the COVID-19 pandemic should resist the moralizing of the New Normal and instead have an immanent focus on what is happening to us. In the first part of the paper I detail the novel approach to ethics as ethology that Deleuze works out most explicitly in Spinoza: Practical Philosophy. (...) In the second part I show exactly how Deleuze contrasts ethics from morality and moral thinking before showing the relation of ethics to morality in relation to the New Normal and contrast the Deleuzian ethical perspective from other ethical philosophical accounts that I claim are indicative a moral approach to the New Normal. I conclude by arguing that the prevalence of the New Normal amidst COVID-19 represents a triumph of what Spinoza calls the sad passions and suggest Deleuze’s ethics might be a way to reject those sad passions. (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).

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

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)

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)

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.

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

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

In this paper, I respond to the infamous letter to The Times warning the University of Cambridge against awarding Jacques Derrida an honorary degree. I draw attention to an assumption of that letter.

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)

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)

Although Gilles Deleuze never explicitly developed what might be considered a ‘philosophy of technology’, this article nonetheless attempts to outline the rudiments of a Deleuzian approach to technology by proposing a series of interrelated concepts: (1) prosthesis (technological artefacts are externalised organs); (2) proto-technicity, or originary technicity (but this technicity already exists in Nature, all the way down, and precedes any ‘theory’); (3) exodarwinism (the fact that evolutionary time has bifurcated, and technology evolves in a faster and accelerating (...) time scale); (4) de-specialisation or de-differentiation (what conditions the externalisation of organs is their deterritorialisation); (5) motricity (the link between the brain and the hand/mouth is primarily one of movement); (6) inscription, or graphism (the link between mouth and hand takes place through phonetic writing, when the hand reproduces speech in graphic inscriptions); (7) maker's knowledge (we know the organisations of matter found in nature through the organisations of matter that we ourselves have created); and finally, (8) totipotence (like a stem cell, the body is capable of externalising an almost unlimited number of forms and functions; it is itself an abstract and the source of abstractions). (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)

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)