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

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)

This article focuses on the distinction between psychosocial types and conceptual personae advanced by Gilles Deleuze and Félix Guattari in What is Philosophy? The conceptual persona is the tool that a philosopher invents in order to create new concepts with which to bring forth new events. Although they present it as one of the three elements of philosophy, its nature and function and, above all, its conjunctions with psychosocial types have been overlooked by scholars. What is Philosophy? (...) contains a list of character traits of which each conceptual persona is composed. The central argument of this article is that this list can well be regarded as a table of categories that enable the exercise and experience of philosophy’s creative thinking. Since the character traits of a conceptual persona match the characteristics of the given psychosocial types, it is necessary to keep inventing new conceptual personae always starting from the historical presuppositions. The philosopher requires the conceptual persona to transfer his or her movements of thought to philosophy’s plane of immanence and thereby transform them in such a manner that philosophy can unfold as a creative power. It emerges as the subject of creative thinking at the same time as the concepts that subject creates, with which it coincides in the moment of creation. With the conceptual persona in What is Philosophy?, Deleuze and Guattari determine the one element of philosophy that makes the transcendental empiricism a method of creation that appears as a precise operation with all its convincing and transparent results. (shrink)

Gilles Deleuze and Félix Guattari, writing together from 1972 to 1992, developed a robust body of theoretical work exemplar of the French poststructuralist tradition. Through their magnum opus, a two-part series entitled “Capitalism and Schizophrenia,” they interrogated the nature of desire, the organizational schemas of society, and the metaphysical structure of the world. Yet, despite claiming to have produced a thoroughly egalitarian project, their work is subject to a variety of exclusionary developments and cultural limitations. This paper (...) attempts to traverse these deficiencies through speculative ecological and theological engagements with the work of Deleuze and Guattari. These engagements begin with the development of “schizoanalytical theology,” an application of their theory of schizoanalysis which disrupts transcendental views of divinity to ground spirituality in the creativity of desire and variability of ecological processes. This is followed by an exploration of the theories of Édouard Glissant, a Francophone theorist from Martinique whose work, heavily influenced by Deleuze and Guattari, is centered around the development of an ontology consistent with the cultural experiences of the colonized. Glissant’s interpretation of, and departure from, Deleuze and Guattari is explored for insights into how their theory may corrected and refigured to be responsive to the nuances of both minority perspectives and the ecological crisis. The paper is closed with a dialogue between Guattari’s theory of “ecosophy” and Glissant’s socio-cultural views on ecology, showing the application, and flexibility, of schizoanalytical theology to a variety of modern crises which find their culmination in ecological degradation. (shrink)

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

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)

Baseado na perspectiva da geofilosofia de Deleuze e Guattari em um processo que se sobrepõe à relação envolvendo sujeito e objeto enquanto fronteira do pensamento e que implica o pensamento como desdobramento de uma violência e as formações genealógicas do saber, o artigo se detém na análise do paradoxal mundo do Instituto Benjamenta (1995) em uma construção fílmica adaptada do romance Jakob von Gunten, de Robert Walser, que encerra um movimento que traz como conteúdo a matéria que se (...) impõe ao caos imanente e converge para o horizonte que abrange Arte, Filosofia e Ciência. Dessa forma, convergindo para a questão que encerra a imagem ortodoxa, dogmática, pré-filosófica, natural e moral do pensamento, o artigo recorre ao filme Instituto Benjamenta (1995) enquanto construção que assinala a intersecção de séries infinitas de imagens de pensamento que escapam ao horizonte da circunscrição da visualidade através de inter-relações ilimitadas que emergem carregadas de complexidade em um processo que defende a superação das imagens dogmáticas do pensamento e da mera exposição do conteúdo do arcabouço histórico do pensamento enquanto objeto que tende à reprodução de ideias e noções e implica a “repetição” de interpretações na relação de ensino e aprendizagem, impedindo o exercício de criação de conceitos, característica da Filosofia, segundo Deleuze, convergindo para a necessidade da instauração de uma experiência capaz de viabilizar a emergência do “novo” através das possibilidades suscitadas no acontecimento da construção do conhecimento. (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)

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)

In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the (...) possibilities of understanding experimentation as a transdisciplinary concept and/or method. I develop a notion of experimentation as open, fluid, and non-hierarchical, but also consider points where such an idea is short-circuited by the reassertion of disciplinary closure and more top-down forms of method. My frame for discussing this question is a commonly posited distinction between the experiment and the experimental. Here the experiment is something like a controlled and closed environment in which a privileged observer tests predefined hypotheses, while the experimental concerns attempts to relinquish such control and to produce contexts in which the unknown and the unexpected can arise. By turning to Bachelard’s studies of the practice of science, I will question the common conception of a disciplinary split between the experiments of science and experimental art, showing both how such a distinction cannot be so neat and how these terms are often not easily separable. Putting this notion into conjunction with recent critical discourse on experimentation in music, namely regarding the kinds of exclusions and closures that the term ‘experimental music’ has produced, and with Deleuze’s criticisms of scientific method as well as the apparent disciplinary closure of his transdisciplinary project that is present and his and Félix Guattari’s final work, What is Philosophy?, I argue that refining our understanding of experimentation as a pluralistic and fragile concept will help us engage with the difficulties raised in these fields. More generally I point towards a project of mapping out the diverse and divergent relations that a transdisciplinary understanding of experimentation may draw between philosophy, science, and art. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox (...) affirms is challenged through the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

Rosi Braidotti has recently argued that the emerging scholarship on posthumanism should employ what she calls nomadic thinking. Braidotti identifies Gilles Deleuze’s work on Spinoza as the genesis of posthumanist ontology, yet Deleuze’s claims about nomadic thinking or nomadology come from his work on Leibniz. I argue that for posthumanist thought to theorize subjectivity beyond the human, it must use nomadology to overcome ontology itself. To make my argument, I demonstrate that while Braidotti is correct about Spinoza’s (...) influence on Deleuze, his work on Leibniz is necessary to adequately conceptualize nomadology. I employ Deleuze and Guattari’s figure of the Thought-brain as a model for conceptualizing posthumanist subjectivity that they claim goes beyond the subject itself. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, (...) however, is not as transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

The “Treatise on Nomadology: The War Machine" is one of the most important and innovative chapters in Gilles Deleuze and Felix Guattari's book, A Thousand Plateaus. It is a highly original text in political philosophy whose implications have yet to be fully mined—or even partially mined, for that matter. This short text analyzes the "noumenal" status that Deleuze assigns to the nomadic war machine, and analyzes the fundamental role that the nomadology plays in Deleuze (...) and Guattari's political philosophy. (shrink)

The paper presents an analysis of David Cronenberg’s 2022 film Crimes of the Future, dedicated to the transformation of human nature amidst technological progress. Drawing inspiration from leading contemporary thinkers like Gilles Deleuze, Felix Guattari, Maurice Merleau Ponty, Michel Foucault, Donna Haraway, and Timothy Morton, the research extends to Cronenberg’s other films to provide a deeper comprehension of his creative vision. Central to the discussion are the humanitarian issues posed by these movies, namely the metamorphosis of (...) human corporeality, the blurring boundaries between the natural and artificial, and the ethical dilemmas arising from biotechnological interventions in human physiology. The key themes in Crimes of the Future are contextualized within modern frameworks of dark ecology and posthumanism and interpreted through the lens of Deleuze and Guattari’s body without organs, Merleau-Ponty’s phenomenology, and Foucault’s biopolitics. Crimes of the Future offers a multifaceted reflection on humanity’s future amidst profound transformations of both physiology and environment. Through an in-depth analysis of the film and Cronenberg’s oeuvre at large, new topics emerge for interdisciplinary research at the intersection of philosophy, bioethics, sociology, and psychology, exploring how human nature and identity evolve in an era of dynamic technological advancement. (shrink)

El artículo presenta los resultados de un análisis de la película de David Cronenberg “Crímenes del futuro” (2022), que aborda la transfor mación de la naturaleza humana bajo la influencia del progreso tecnológico. Este estudio se basa en ideas de pensadores contemporáneos destacados como Gilles Deleuze, Felix Guattari, Maurice Merleau-Ponty, Michel Foucault, Donna Haraway y Timothy Morton. La investigación también analiza otras películas de Cronenberg para proporcionar una comprensión más completa de su visión creativa. El autor (...) identifica los principales temas humanísticos que abordan estas películas, a saber, la transformación de la corporeidad humana, la difuminación de los límites entre lo natural y lo artificial, y los dilemas éticos que surgen de las modificaciones biotecnológicas del cuerpo humano. Las cuestiones clave en “Crímenes del futuro” también se exploran en el contexto de los conceptos modernos de “ecología oscura” y posthu manismo. El artículo analiza la interpretación de la corporeidad en la pelí cula a través del concepto de “Cuerpos sin Órganos” de Deleuze y Guattari, la fenomenología de Merleau-Ponty y la biopolítica de Foucault. “Crímenes del futuro” ofrece una reflexión multifacética sobre el futuro de la humanidad en medio de transformaciones radicales tanto del cuerpo como del entorno. El análisis de la película, y más ampliamente de toda la obra de Cronenberg, identifica nuevos temas prometedores para la investigación interdisciplinaria en la intersección de la filosofía, la bioética, la sociología y la psicología. Estos temas exploran cómo la naturaleza humana y la iden tidad se están transformando en una era de rápido avance tecnológico. (shrink)

Saggio contenuto nel volume: AA.VV. Di stelle, atomi e poemi. Verso la physis, a cura di Enrico Giannetto, Aracne, Roma 2018. Trascrizione ed ampliamento di una conferenza pronunciata in occasione del "Seminario Deleuziano" organizzato dalla prof.ssa Daniela Angelucci e svoltosi il 28 Settembre 2017 presso l'Università degli Studi Roma Tre.

It might sound rather convincing to assume that we owe the pleasure of reading the novel form to our elemental repository of physical perception, to our feelings. This would be true only if mere feelings could add up to something more than just emotions, to some deep understanding of the human. After all, a moment of epiphany, where we begin to realize things that dramatically disturb our normal state of mind, is not just emotional, nor indeed a simple moment. Despite (...) its root in the corporeal, a mo(ve)ment of affective realization reaches beyond the realm of the human and opens up the plane of virtual potentials. In this work, we intend to map out the points and relations of affective singularity that pervade the narrative of Toni Morrison’s Sula (1973). Also, we will discuss how these mo(ve)ments of sensation give form to Sula’s and Nel’s experiences and contribute to an affective transformation in morality and friendship. (shrink)

This paper takes a critical examination at selected works by 20th century philosophers Gilles Deleuze and Félix Guattari. I argue that, far from arcane, distant, inaccessible concepts, the selected Marxist ideas presented in their immanent critiques provide priceless insight into how fascism, in all forms, permeates every stretch of society. Understanding how these events occur, called micro- and macro-fascism, and how they are mediated through our beliefs and desires, can allow for us to resist transcendent theories of (...) desire and modes and politics, and towards a mode of immanence, one that is always critiquing itself, and always resisting fascism. (shrink)

Reading Deleuze's Proust and Signs -Irfan Ajvazi.

Wij presenteren Berardi’s herwerking van de ideologiekritiek in drie stappen. Eerst schetsen wij de context waarin Berardi de ideologiekritiek herdenkt. Hij bouwt verder op de ontdekking van Deleuze en Guattari dat de taal van het kapitalisme niet de code, maar de axiomatiek is. De economische wetenschap biedt, volgens hen, mensen geen identiteit aan, maar bestaat uit een reeks commando’s die stromen van geld, arbeid, elektriciteit, enzovoort reguleert. Daaraan koppelt Berardi de observatie dat het hedendaagse kapitalisme vooral tekens verhandelt (...) in plaats van producten waarnaar zulke tekens zouden verwijzen. In een tweede stap brengen wij tegen deze opvatting in dat Berardi nog steeds vasthoudt aan de representatieve waarde van de economische wetenschap. Deze laatste zou enkel een afbeelding bieden van de realiteit en die vervalsen in het voordeel van het status quo. Sociologen uit de traditie van de actor-netwerktheorie (ANT) hebben dat echter betwist. Zij beweren dat de economische wetenschap de economische realiteit niet zozeer afbeeldt, maar actief vormgeeft. De economische wetenschap heeft de mens geschapen naar zijn evenbeeld: als homo oeconomicus. Het is dan ook een vergissing om de economische wetenschap te bekritiseren voor haar valse representaties. Zij maakt die immers waar. In een derde en laatste stap leggen wij in Berardi’s teksten een nieuw criterium bloot voor ideologiekritiek. In plaats van de economische wetenschap te bekritiseren voor haar valse uitspraken over de realiteit, moeten wij nagaan of de economische wetenschap een manier van leven promoot die mensen in staat zijn te onderhouden. De economische wetenschap is dan ideologisch als en slechts als zij een onhoudbare vorm van leven propageert. Volgens Berardi kan de hedendaagse economische wetenschap hiervan terecht beschuldigd worden. In zijn psychopathologie van het kapitalisme wijst hij immers op de negatieve psychische gevolgen van het hedendaagse kapitalisme, namelijk de instandhouding van een cyclus tussen paniek en depressie, een verlies aan betekenisvol menselijk contact en een neiging tot neurotisch vasthouden aan oude economische recepten die hun failliet reeds meermaals bewezen hebben. Niet de waarheid zal ons verlossen, maar in de verlossing ligt het ware leven. (shrink)

This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each (...) correspondent. Commentators have tended to focus on one or the other of these themes in order to champion either Boyle or Spinoza in their assessment of the exchange. This paper draws upon the resources made available by Gilles Deleuze and Felix Guattari in their major work What is Philosophy?, in order to offer a more balanced account of the exchange, which in its turn contributes to our understanding of Deleuze and Guattari’s conception of the difference between science and philosophy. (shrink)

As all philosophical concepts, also the concept of person constitutes itself referring to a particular problem. The analysis drafted by Marcel Mauss regarding the genesis of the aforementioned category permits to analyse the problematic nucleus to which such concept refers to, disclosing that it responds to the necessity of solving the ancient problem of the link between mind and body in a specific perspective. In this respect, Bergsonian theory of images represents a solid attempt of passing not only the habitual (...) solution of the problem represented by the concept of person, but also the problem itself whereto refers. The deleuzian reading of Henri Bergson’s theory leads him to define the impersonal and pre-individual field sketched out by Bergson as a plane of immanence, and this last as “a life”. The ultimate aim of this paper is to analyse the nature of such plane and to suggest an interpretation of the latest Gilles Deleuze’s piece of writing, "L’immanence: une vie..." that unveils its profound Bergsonism. (shrink)

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. (...) First, it develops transcendental empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces. (shrink)

Missing Links, A Book in Ten Sessions received the Award from the Association of Moving Image Researchers [AIM] for Best Monograph released in 2023. -/- Missing Links, A Book in Ten Sessions is Lucas Ferraço Nassif's elaboration on the work of art in Gilles Deleuze and Félix Guattari through description, time, cosmology, and desire production. The films of Chantal Akerman, alongside Anne Carson and Ludwig Wittgenstein, are his main objects of study. -/- //The book is available, open (...) access.// -/- //In Missing Links, Lucas Ferraço Nassif instructs that “cinema exists in the tension of desires, from everything that is in the game”. And “what is in the game vibrates”, or becomes perceptible in the tempo of film and filmic thought that somehow promises to reveal the nature of this world (maybe, a world that’s about to end). To approach such perception is to submit to description, says Nassif, and then proceeds to investigate the act of describing in all its perilous demand and exhausting impossibility. What can we know, after all, of Chantal Akerman’s Jeanne Dielman, at whom we look and look? Or of any seemingly-unified object that, in being worthy of our attention, must be recognized most fundamentally for the way it slips and blurs? I’m dazzled by this writer’s courage to “work on the void”, to tilt, heart in mouth, at ghosts and ruins. This is the drama I came for. — Matt Longabucco// -/- //Inside the cracks in Lucas Ferraço Nassif’s cinecriticism is an elegy for Chantal Akerman, born the same year as me and Anne Carson too, both here hailed. This elegy is composed as a montage that tells the tale of the Jewish filmmaker as desperado fleeing Sherriff Jean-Luc Godard on a runaway midnight train to Rio, which makes an unscheduled stop in Wittgenstein, Montana. What with all the humming, you just can’t see it. Or if you can, you can’t describe it. “We have nowhere else to start.” — Charles Bernstein// -/- //Lucas Ferraço Nassif’s expansive, rhizomatic project is “full” of missing links in the sense of plenitude: a surfeit of references, genres, affects, and paths for the reader to follow, the listener to harken, the viewer to watch. In the process of tracing affinities between the cast of characters in the intellectual drama staged here — from Jean-Luc Godard to Ludwig Wittgenstein, Anne Carson to Chantal Akerman, Gilles Deleuze to Jacques Lacan, and beyond — we have the chance to reconsider the articulations and boundaries, the flows and stoppages, between film and writing, autobiography and criticism, theory and practice. Missing Links is a ciné-poème of flickering, delicate attention that compels our immersion in turn. — Craig Dworkin//. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

The investigation that follows will flex in four directions, backwards and forwards, along the elastic threadthat ties the event of the bullfight to sex and thence a warm spill of sensation. In order to enter the fraythat is the bullfight, I will appropriate a term from Gilles Deleuze and Félix Guattari by way of which eachof the four thrusts I advance, or fights I present, can be read as asignifying ruptures [1] . With thisconcept we are encouraged (...) to question the integrity of signification. By breaching the threshold ofsignification there results a momentary loss of the senses, at which point we might take the opportunityto search out or invent other modes of making sense. The activity of writing, for instance, as one meansof experimenting with sense, "has nothing to do with signifying. It has to do with surveying, mapping,even realms that are yet to come" [2]. Though the bullfight is organised by way of its own particularcodes ofoperation and signification, much is also left to chance and the unexpected [3] . With thisemphasis on unexpected novelty in mind, I ask you to consider this paper as an arena in which fourbullfights will be conducted. The twists and turns of the trope of the bullfight will be surveyed across fourdifferent textual terrains in order to explore the effects that result in bringing these terrains into thevicinity of each other. As such, I will touch upon the work of Georges Bataille, Friedrich Nietzsche,Francis Bacon and Michel Leiris. As Nietzsche has suggested, using the tauromachic trope, to enter intoa "frightful and dangerous" enterprise does not necessarily enable the capture of an enraged bull [4]; atthe outset we cannot necessarily be assured of what will eventuate with the outcome. Furthermore, thatthe bull is always vanquished merely holds to the dictates of good and common sense, conventions that,in this arena, are only tenuously maintained. It is instead the event that surfaces as an incorporeal blocof sensation, exploding in the midst of the spectacle, that this paper determines to pursue. (shrink)

This review points out how Baldwin's book is unique in that it foregrounds proto-Marxist views of God. But it misses the mark by not mentioning "Gilles Deleuze and Félix Guattari’s work on the rhizomic nature of the Buddhist ‘mandala’.".

Discussione sul testo "Legge, desiderio, capitalismo. L'anti-Edipo tra Lacan e Deleuze" per "Il Lavoro culturale/ISSN 2384-9274".

This essay considers Richard Calder’s Dead trilogy as an important contribution to the argument concerning how pornography’s pernicious effects might be mitigated or disrupted. Paying close attention to the way that Calder uses the rhetoric of fiction to challenge pornographic stereotypes that have achieved hegemonic status, the essay argues that Calder’s trilogy provides an important link between debates about pornography and contemporary philosophical discussions of alterity and community. Finally, it argues that, for Calder, sexuality is implicitly predicated on a reconceptualization (...) of social relations in general – a reconceptualization achieved through the exhaustion of that decadent shadow of the Enlightenment, pornography. (shrink)

During the last ten years of his life, Antonin Artaud shows more and more intensively a multi-faceted and caustic refusal for traditional literature and the ordinary practice of writing. But above all, he shows a stylistic impatience for the alphabetic use of the word and the language. By the intention of creating an inhuman language, which could be understood also by the illiterate people, Artaud wants to undermine the significant use of the word, so that he can achieve a non-representative (...) language, a language that could make real. In this perspective, the aim of our work consists in an inquiry of the expressive forms through which Artaud’s last literary production shows the refusal of canonical literature: especially, we attempt to work about the use of glossolalias, drawings and pictograms included in several Cahiers which Artaud draws up during his confinement in the Rodez’s madhouse, as well as in some of the letters that he writes since 1943. (shrink)