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)

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)

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)

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

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)

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)

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)

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 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)

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)

'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)

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.

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)

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)

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)

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’.".

Reading Deleuze's Proust and Signs -Irfan Ajvazi.

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

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)

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)

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)

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)

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)

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)

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 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)

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)

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)

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 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)

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 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)

Drawing from Arjen Kleinherenbrink's recent book, Against Continuity: Gilles Deleuze's Speculative Realism (2019), this paper undertakes a detailed review of Kleinherenbrink's fourfold "externality thesis" vis-à-vis Deleuze's machine ontology. Reading Deleuze as a philosopher of the actual, this paper renders Deleuzean syntheses as passive contemplations, pulling other (passive) entities into an (active) experience and designating relations as expressed through contraction. In addition to reviewing Kleinherenbrink's book (which argues that the machine ontology is a guiding current that emerges (...) in Deleuze's work after Difference and Repetition) alongside much of Deleuze's oeuvre, we relate and juxtapose Deleuze's machine ontology to positions concerning externality held by a host of speculative realists. Arguing that the machine ontology has its own account of interaction, change, and novelty, we ultimately set to prove that positing an ontological "cut" on behalf of the virtual realm is unwarranted because, unlike the realm of actualities, it is extraneous to the structure of becoming-that is, because it cannot be homogenous, any theory of change vis-à-vis the virtual makes it impossible to explain how and why qualitatively different actualities are produced. (shrink)

I analyze Deleuze’s concept of temporality in terms of its ontology and axiological (political and aesthetic) aspects. For Deleuze, the concept of temporality is non-monolithic, in the senses that it is modified throughout his works — the monographs, lectures, and those works that were co-authored with Félix Guattari — and that it is developed through reference to a dizzying array of concepts, thinkers, artistic works, and social phenomena. -/- I observe that Deleuze’s concept of temporality involves (...) a complex ontology of difference, which I elaborate through reference to Deleuze’s analyses of Ancient Greek and Stoic conceptualizations of time. From Plato through to Chrysippus, temporality gradually comes to be identified as a form that comprehends the variation of particulars. Deleuze modifies the ancients’ concept of time to suggest that time obtains as a form of ceaseless ontological variation. Through reference to Deleuze’s reading of Gilbert Simondon, I further suggest that Deleuze tends to conceive of temporality as an ontogenetic force which participates in the complex process of individuation. -/- A standout feature of this dissertation involves an analysis of how Deleuze’s concept of temporality is modified in his works on cinema. In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, temporality comes to be characterized as something other than the measure of the movement of existents. In his detailed analyses of Bergson — in Cinema 1: The Movement-Image, Cinema 2: The Time-Image, and Bergsonism — Deleuze suggests that time involves an actualization of aspects of a virtual past as contemporaneous with the lived present. While not an outright denial of the relation of temporal succession, Deleuze’s claim implies a diminishment of this relation’s significance in an adequate elaboration of the nature of temporality. -/- Further, I observe —through reference to Deleuze’s readings of Marx, Kierkegaard, and Spinoza — that (the explicitly temporal) change of societal forms of economic organization is non-reducible to that suggested by linear evolution. The claim is that putatively discrete modes of economic organization do not enjoy temporal displacement with respect to one another. This suggests that linear evolutionary models of societal development are inadequate. This further implies that temporality is non-reducible to the relation of temporal succession. In concrete terms, societal change is characterized as immanent temporal variation. -/- Taken together, these analyses yield the conclusion that Deleuze tends to conceive of the nature of temporality as involving the ongoing realization of multiple — non-identical, sometimes contrary — aspects of a stochastic process of creation that is expressed in ontogenetic circumstances, social evolution, literary works, and filmic works. (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)

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)

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)

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.

My dissertation presents a comprehensive rethinking of the Kantian imperative, articulating it on the basis of what I call originary sense. Calling primarily upon the works of Maurice Merleau-Ponty, Gilles Deleuze, and Jean-François Lyotard, I show (1) that sense constitutes the ontologically most basic dimension of our worldly being and (2) that the way in which this sense happens is determinative for our experience of the ethical imperative. By originary sense I mean to name something that is neither (...) sensible sense (sensation) nor intelligible sense (meaning), but rather a kind of unity of these two that is ontologically anterior to their separation. In the first chapter I follow Merleau-Ponty’s argument in Phenomenology of Perception that sensible sense and intelligible sense belong originarily together at the level of the lived body. We are able to intend the meaning of worldly situations (Husserl’s Sinngebung) only insofar as we are responsive in an embodied way to the imperatives that are given in the sensible itself. The intelligible lawfulness so characteristic of the Kantian imperative is thus shown to be grounded in a more fundamental unity of intelligible and sensible sense. The second chapter follows Merleau-Ponty’s later works, especially The Prose of the World and The Visible and the Invisible, showing how the sensibility that is inseparable from the imperative introduces important limitations to the universalizing tendencies of Kant’s moral philosophy, drawing us back to the irreducible situatedness of ethical situations. In the third chapter I turn to the very different articulation of sense given by Gilles Deleuze, primarily in his Logic of Sense. I show there that Merleau-Ponty’s phenomenological conception of sense does not allow us to think the singularity of the imperative, the fact that the ethical command weighs on a me that cannot be grasped in terms of the generalities of my public identity. This singularity corresponds broadly to the idea of dignity in Kant’s moral philosophy. I argue that Deleuze, who conceptualizes sense as an event, gives us the resources to think singularity and to understand what it entails for our ethical practice. Finally, I attempt in the fourth chapter to think these two sides of the imperative—its demand for universality and its emphasis on singularity and dignity— together in the idea of libidinal sense. Calling on Jean-François Lyotard’s Libidinal Economy and, to a lesser extent, on Deleuze and Guattari’s Anti-Oedipus, I show that these two apparently incompatible requirements of the imperative have a common source in the event of libidinal investment (cathexis). In thus locating the source of the imperative in originary, libidinal sense, I hope both to shed some light on the irreducible complexity of our ethical being and to present a more humane, less moralizing version of the imperative than is typically articulated in moral philosophy. (shrink)

The central topic of this essay consists into establishing a relation between two dimensions of formation: the conceptual process of creating philo- sophical toys - that is of reelaborating existing philosophical concepts, mainly deriving from the thought of Gilles Deleuze and Félix Guattari, in terms of their potential as ‘operative constructs' - and their parallel redeployment towards the specific problem of analyz- ing a recent transdisciplinary artwork. By means of this strategical shift, theory looses its character of (...) explanation and illustration. Philosophy as toy becomes rather the matter of evaluating the com- plexity of a specific artistic composition in terms of its aesthetic potential. It contributes towards developing meta- stable conditions of mutual resonance between heterogeneous modalities of creation. (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 aim of this paper is to develop a consistent reading of Deleuze and Guattari’s account of capitalism by taking seriously their use of Kant’s philosophy in formulating it. In Sect. 1, I will set out the two different roots of the term axiomatic in Deleuze and Guattari’s thought. The first of these is the axiomatic approach to formalising fields of mathematics, and the second the Kantian account of the indeterminate relationship between the transcendental unity of (...) apperception and the transcendental object. In Sect. 2, we will see how this transcendental aspect of Deleuze and Guattari’s account of axiomatics is expressed in the notion of binding, which Deleuze and Guattari take to be a process that forces us to understand a field of entities in a certain manner, namely as clearly delimited and deployed in a homogeneous space. I will argue that this process of binding operates as a transcendental condition for capitalism for Deleuze and Guattari. Section 3 addresses some of the details of the capitalist axiomatic itself, drawing out why a Kantian reading of Deleuze and Guattari’s account of the axiomatic provides a response to some of the criticisms of it. Section 4 then analyses Deleuze and Guattari’s account of the outside of capitalism, using the double signification of the noumenal to understand the complex relationship between what they call the war machine and its representation within the axiomatic. (shrink)

‘The Image of Thought’ could be considered to be the most important piece of writing in the entire Deleuzian corpus. This is the chapter of Difference and Repetition that several decades later, Deleuze claims is the ‘most necessary and the most concrete’ (Deleuze 1994: xvii) section of the book, and the one that provides a basis for his later work with Guattari. Here, Deleuze engages with two basic issues. First, he separates out his conception of thinking, (...) and with it, philosophy, from prior philosophical approaches, explaining why the difference of his philosophy from prior systems itself differs from the traditional relationship between philosophical positions. Second, he raises the question of how one should begin to philosophise. As we will see, philosophy often operates by the recognition of implicit presuppositions in prior thinkers, and their refutation. Descartes, for instance, criticises Aristotle for presupposing the transparency of categories such as rational and animal. Kant, in turn, criticises Descartes for presupposing the determinability of his own foundational moment, the cogito. If we see the development of philosophy as the unmasking and critique of presuppositions of prior systems, then the endpoint of philosophy will be a system entirely without presuppositions. This is the goal Hegel aims at with his system of absolute idealism. Deleuze’s claim is that such a model of the progress of philosophy itself operates within one overarching assumption: the good will of thinking. In this essay, I want to relate these questions of thinking and beginnings to the work of one of Deleuze’s predecessors. Deleuze writes of Ludwig Feuerbach that ‘Feuerbach is among those who have pursued farthest the problem of where to begin.’ (Deleuze 1994: 319) As we shall see, prefiguring Deleuze, Feuerbach accuses Hegel of operating within ‘an image of Reason’. While Feuerbach is famous as a precursor of Marx, and for his critique of traditional accounts of religion, I want to here focus on an early piece by Feuerbach, his Critique of Hegelian Philosophy. Here Feuerbach sets out the limitations of traditional philosophical accounts, and provides the groundwork for his own later materialism. Deleuze discovered Feuerbach through his friend Althusser’s translation of his work, published in 1960. While many of the intuitions behind Deleuze’s critique of the image of thought can be found within a broader pantheon of thinkers, including Nietzsche, Bergson, and Foucault, the specific mechanics of Deleuze’s criticism bear a striking resemblance to the formulation of the critique of philosophy in Feuerbach’s earlier thought. I want to explore this connection, first by looking at the dialectical interrelation of two thinkers, Descartes and Hegel, to get a sense for how criticism in philosophy typically operates. I then want to move on to look at Feuerbach’s critique of Hegel and philosophy more generally, drawing out several aspects that will be taken up by Deleuze himself. I will then look at some of the ways in which Deleuze goes beyond Feuerbach by recognising some of the limitations that persist in Feuerbach’s own analysis. I will conclude by showing how Deleuze’s desire to think the two common acceptations of aesthetics together (the artistic and the sensible) bring Feuerbach into relation with an unexpected figure: the playwright and poet, Antonin Artaud. (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)