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

The aim of this paper is to provide a close reading of Deleuze's complex account of Freud's Beyond the Pleasure Principle in Difference and Repetition. The first part provides a reading of Beyond the Pleasure Principle itself, showing why Freud feels the need to develop a transcendental account of repetition. In the second, I show the limitations of Freud's account, drawing on the work of Weismann to argue that Freud's transcendental model mischaracterises repetition. In the third part, I show (...) how Freud's account of the death drive is shadowed by Deleuze's own non-representational transcendental account. (shrink)

Deleuze’ün Spinozacı yaşam tahayyülünde ‘ne yapmalıyız?’ sorusuna normatif, ahlaki ya da siyasi bir yanıt bulamıyoruz ama varoluşu düşünmenin içkin bir olanağını keşfediyoruz. Düşünmeye 'dışarıdan' yani dünyadan başlamak insani (kurgusal) bir dünyaya değil, içinde yaşadığımız gerçek dünyaya inanmak demektir. İçkinliğin politik anlamı düşünceyi dünyaya getirmektir.

Deleuze does not mention Schopenhauer very frequently. Certainly Schopenhauer does not appear to be in the counter-canon of life-affirming philosophers that Deleuze so values – indeed, far from it. Nor does he appear to be even a favoured ‘enemy’ as he describes Kant, or as he sometimes appears to view Hegel. Nevertheless, I think Schopenhauer’s break from Kant is crucial for understanding not only Deleuze’s account of Nietzsche, but also for a proper grasp of the core Deleuzian (...) distinction between the actual and the virtual, at least in its guise as the distinction between desiring-production and social production in Anti-Oedipus. (shrink)

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

Badiou claims Deleuze’s thinking is pre-critical metaphysics that cannot be understood in relation to Kant. I argue that Deleuze is indeed a metaphysical thinker, but precisely because he is a kind of Kantian. Badiou is right that Deleuze rejects the overwhelmingly epistemic problematics of critical thought in its classical sense, but he is wrong to claim that Deleuze completely rejects Kant. Instead, Deleuze is interested in developing a metaphysics that prolongs Kant’s conception of a productive (...) synthesis irreducible to empirical causation. Where Badiou’s criticism might tell however is in the risk that Deleuze’s strategy runs of contaminating his new metaphysics with a new kind of transcendental idealism. This reading has recently been developed by Ray Brassier and I explore and evaluate it, concluding that in Difference and Repetition this accusation may be correct, but that by the time of Anti-Œdipus, Deleuze (now with Guattari) has the intellectual resources to resist it. (shrink)

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

This paper will seek firstly to understand Deleuze’s main challenges to phenomenology, particularly as they are expressed in The Logic of Sense and What is Philosophy?, although reference will also be made to Pure Immanence and Difference and Repetition. We will then turn to a discussion of one of the few passages in which Deleuze directly engages with Merleau-Ponty, which occurs in the chapter on art in What is Philosophy? In this text, he and Guattari offer a critique (...) of what they call the “final avatar” of phenomenology – that is, the “fleshism” that Merleau-Ponty proposes in his unfinished but justly famous work, The Visible and the Invisible. It will be argued that both Deleuze’s basic criticisms of phenomenology, as well as he and Guattari’s problems with the concept of the flesh, do not adequately come to grips with Merleau-Ponty’s later philosophy. Merleau-Ponty is not obviously partisan to what Deleuze finds problematic in this tradition, despite continuing to identify himself as a phenomenologist, and is working within a surprisingly similar framework in certain key respects. In fact, in the more positive part of this paper, we will compare Merleau-Ponty’s notion of flesh, and Deleuze’s equally infamous univocity of being, as a means to consider the broader question of the ways in which the two philosophers consider ontological thought, its meaning and its conditions. It is our belief that through properly understanding both positions, a rapprochement, or at least the foundation for one, can be established between these two important thinkers. (shrink)

Explications of the reconstruction of Leibniz’s metaphysics that Deleuze undertakes in 'The Fold: Leibniz and the Baroque' focus predominantly on the role of the infinitesimal calculus developed by Leibniz.1 While not underestimat- ing the importance of the infinitesimal calculus and the law of continuity as reflected in the calculus of infinite series to any understanding of Leibniz’s metaphysics and to Deleuze’s reconstruction of it in The Fold, what I propose to examine in this paper is the role played (...) by other developments in mathematics that Deleuze draws upon, including those made by a number of Leibniz’s near contemporaries – the projective geometry that has its roots in the work of Desargues (1591–1661) and the ‘proto-topology’ that appears in the work of Du ̈rer (1471–1528) – and a number of the subsequent developments in these fields of mathematics. Deleuze brings this elaborate conjunction of material together in order to set up a mathematical idealization of the system that he considers to be implicit in Leibniz’s work. The result is a thoroughly mathematical explication of the structure of Leibniz’s metaphysics. What is provided in this paper is an exposition of the very mathematical underpinnings of this Deleuzian account of the structure of Leibniz’s metaphysics, which, I maintain, subtends the entire text of The Fold. (shrink)

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

This paper will attempt to assess the primary differences between what I take to be the two primary philosophical "traditions" in contemporary French philosophy, using Derrida (transcendence) and Deleuze (immanence) as exemplary representatives. The body of the paper will examine the use of these terms in three different areas of philosophy on which Derrida and Deleuze have both written: subjectivity, ontology, and epistemology. (1) In the field of subjectivity, the notion of the subject has been critiqued in two (...) manners, either by appealing either to the transcendence of the other (Levinas, Derrida) or to the immanent jlux of experience itself, in relation to which the Ego itself is trancendent (Deleuze, Foucault, Sartre, James). (2) In the field of ontology, a purely "immanent" ontology would be an ontology in which there is neither a "beyond" or an "otherwise" Being, nor "interruptions" in Being, both of which would require an appeal to a formal element of transcendence (Deleuze). Such a "transcendent" and aporetic structure, which can never appear or be present as such within Being, is what lies at the basis of the project of deconstruction, with its attendant aporias (Derrida). (3) This distinction, finally, finds parallels in Kant's epistemology, for whom the possible experience is conditioned by purely immanent criteria (Deleuze), whereas what goes beyond the limits of possible experience is transcendent (Derrida). Drawing on these three thread of analysis, the paper concludes with an assessment of what is at stake in the ethical differences between the two traditions. The question of "transcendence" is "What mast I do?", which is the question of morality (a duty or obligation that is beyond being, an "ought" beyond the "is"). The question of "immanence" is "What can I do?" (my power or capacity as an existing individual within being). For Levinas and Derrida, ethics precedes ontology because it is derived from an element of transcendence (the Other); for Deleuze, ethics is ontology because it is derived from the immanent relation of beings to Being at the level of their existence (Spinoza). (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)

I argue that 'deep' ecology (as exemplified by the work of Arnie Naess) involves three inter-related commitments: (1) to an ethics of nature or axiological anti-humanism in which natural entities, processes or systems can possess intrinsic value independently of human beings; (2) a metaphysical naturalism or anti-humanism in which human beings are themselves conceptualized as natural products; (3) a transformative aspect. Although (3) is sometimes cast in personal or psychological terms, I think the idea can be given a properly philosophical (...) reconstruction along the lines of a kind of Ideologiekritik. I give the examples of Heidegger and Adorno to show how deeply our understanding of nature has been corrupted, and hence the depth of conceptual transformation required correctly to conceive nature. But both these thinkers simultaneously demonstrate a hostility to metaphysical naturalism and therefore have ultimately limited value for deep ecology. I then outline three possible relations of axiological to metaphysical commitments: (a) the abandonment of naturalism about values; (b) a projective or transcendentally idealist account of values; (c) an account of values as themselves lodged within the operation of natural systems. My reconstruction of the Ideologiekritiker shows them belonging to (b). So that if deep ecology is to avoid (a), it must embrace (c). Deleuze is much touted by environmental philosophers as contributing to (c). I argue that this is correct, but that the axiological commitments Deleuze manifests in his account of nature are ultimately quite different from those to which deep ecologists appear sympathetic. (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)

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

In 1977, Deleuze and Foucault found themselves in opposite camps in the public dispute among French intellectuals, resulting in a parting of the ways between two colleagues who had for many years been friends. This article argues that Deleuze considered the reason for the split to have been their differing views on the connection between the historical situation and philosophical thought. In his view, the split was occasioned by the debate over the New Philosophers, in which Foucault supported (...) those intellectuals who opposed the creative thinking of philosophy. After Foucault's death in 1984, Deleuze sought to reconcile the two positions, but his attempt only highlighted the depth of the division between them. (shrink)

This chapter examines the ways in which French philosopher Gilles Deleuze offers conceptual resources for an enactive account of language, in particular his extensive consideration of language in The Logic of Sense. Specifically, Deleuze’s distinction between the nonsense of Lewis Carroll’s portmanteau creations and that of Antonin Artaud’s “transla- tion” of Carroll’s Jabberwocky highlights the need for an enactive, rather than merely embodied, approach to sense-making, particularly with regard to the general category of what Jakobson and Halle (1956) (...) call “sound symbolism”. (shrink)

In this paper, I argue that Deleuze's political writings and Derrida's early (pre-1985) work on deconstruction affirms the tactical orientation which Todd May in particular has associated with 'poststructuralist anarchism.' Deconstructive philosophy, no less than Deleuzean philosophy, seeks to avoid closure, entrapment, and structure; it seeks to open up rather than foreclose possibilities, to liberate rather than interrupt the flows and movements which produce life. To this extent, it is rightfully called an anarchism -- not the utopian anarchism of (...) the nineteenth century, perhaps, but the provisional and preconditional anarchism which is, and will continue to be, the foundation of postmodern politics. (shrink)

The aim of this paper is to respond to the discussions by John McCumber and Joshua Ramey of my monograph, Hegel, Deleuze, and the Critique of Representation. In the first part of this paper, I analyse McCumber’s claim that Deleuze’s concept of difference is already present within Hegel’s thought in the form of diversity. I make the claim that Deleuze formulates his concept of difference as the transcendental ground for Hegelian diversity, arguing that as such it differs (...) in kind from it. I show how Deleuze’s concept of difference leads him to develop an alternative solution to the one and the many to that of Hegel, and trace some of the systematic implications of this for both philosophers. In the second part of the paper, I engage with Ramey’s analysis of chance within Deleuze’s philosophy, arguing that Ramey wrongly looks for a model of chance in Deleuze in the category of the virtual, rather than in a transition between virtual and actual. I then show how a proper understanding of chance in Deleuze’s thought allows us to develop a non-teleological account of Deleuze’s ethics. (shrink)

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

The paper looks at Deleuze's metaphysics and compares it to recent developments in biology and the metaphysical implications they have.

When Gilles Deleuze, in his book on Michel Foucault, asks, ‘who would think of looking for life among the archives?’, he uncovers something particular to Foucault's philosophy, but also to his own: a commitment to the question of what it means to think, and think politically. Although Foucault and Deleuze, who first met in 1952, immediately felt fondness for each other, a growing animosity had settled into the friendship by the end of the 1970s – a rift deepened (...) by theoretical differences. Notwithstanding these difficulties, Foucault and Deleuze shared a love for Nietzsche, as well as a curious fascination with Kant. Kant's influence, which was met with more opposition, is precisely the tension I tease out in this article, showing how Foucault critiques Kant's a priori through his own concept of the historical a priori, along with regularity and resistance, while Deleuze and Guattari, if more obliquely, critique Kant's a priori by further developing Foucault's notion of the historical a priori through their own method of pragmatics, particularly in three chapters of A Thousand Plateaus, namely ‘The Geology of Morals’, ‘Postulates of Linguistics’ and ‘On Several Regimes of Signs’. What I am interested in, then, is Deleuze and Guattari's treatment of redundancy, a concept mentioned seventy times in A Thousand Plateaus. Although not one of their main or most developed concepts, redundancy is a thread that can be traced back to Deleuze's first book, Empiricism and Subjectivity. Moreover, their more developed concepts, for example the diagram, the abstract machine, becoming, micro-politics and the ritornello, as well as their political philosophy, are grounded in their understanding of redundancy, which moves their philosophy beyond mapping out the conditions of possibility and demonstrating that the historical a priori emerges as a contingent function of its own expression to the genesis of thought. (shrink)

In the chapter of Difference and Repetition entitled ‘Ideas and the synthesis of difference,’ Deleuze mobilizes mathematics to develop a ‘calculus of problems’ that is based on the mathematical philosophy of Albert Lautman. Deleuze explicates this process by referring to the operation of certain conceptual couples in the field of contemporary mathematics: most notably the continuous and the discontinuous, the infinite and the finite, and the global and the local. The two mathematical theories that Deleuze draws upon (...) for this purpose are the differential calculus and the theory of dynamical systems, and Galois’ theory of polynomial equations. For the purposes of this paper I will only treat the first of these, which is based on the idea that the singularities of vector fields determine the local trajectories of solution curves, or their ‘topological behaviour’. These singularities can be described in terms of the given mathematical problematic, that is for example, how to solve two divergent series in the same field, and in terms of the solutions, as the trajectories of the solution curves to the problem. What actually counts as a solution to a problem is determined by the specific characteristics of the problem itself, typically by the singularities of this problem and the way in which they are distributed in a system. Deleuze understands the differential calculus essentially as a ‘calculus of problems’, and the theory of dynamical systems as the qualitative and topological theory of problems, which, when connected together, are determinative of the complex logic of different/ciation. (DR 209). Deleuze develops the concept of a problematic idea from the differential calculus, and following Lautman considers the concept of genesis in mathematics to ‘play the role of model ... with respect to all other domains of incarnation’. While Lautman explicated the philosophical logic of the actualization of ideas within the framework of mathematics, Deleuze (along with Guattari) follows Lautman’s suggestion and explicates the operation of this logic within the framework of a multiplicity of domains, including for example philosophy, science and art in What is Philosophy?, and the variety of domains which characterise the plateaus in A Thousand Plateaus. While for Lautman, a mathematical problem is resolved by the development of a new mathematical theory, for Deleuze, it is the construction of a concept that offers a solution to a philosophical problem; even if this newly constructed concept is characteristic of, or modelled on the new mathematical theory. (shrink)

Reading Deleuze's Proust and Signs -Irfan Ajvazi.

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)

In his influential history of the post-1967 history of the Palestinian Occupation, radical Israeli architect Eyal Weizman show how even well-meaning decolonial efforts from privileged allies can be coopted by the colonizers, in what I call “de-decolonizing.” Here I focus on one of his examples, namely IDF (Israeli Defense Force) military professors repurposing the anarcho-communist philosophy of French postmodernist Gilles Deleuze into a weapon against Palestinian guerrilla resistance. My conclusion is that attempted decolonizing via (inevitably complicit) privileged allies must (...) include what Weizman calls “co-resistance,” and I call “reconstruction.” In other words, when a Deleuzian “line of flight” to “escape” is impossible, as arguably for Palestinians today, then one should follow the heroic example of the Bedouins, who (as Weizman acknowledges) are the only Arabs who have never stopped rebuilding their Palestine. (shrink)

This paper compares two readings of Baruch Spinoza – those of Gilles Deleuze and Rama Kanta Tripathi – with a particular focus on three features of Spinoza’s philosophy: the relationship between substance and attribute; the problem of acosmism and unity; and the problem of the parallelism of attributes. Deleuze and Tripathi’s understanding of these three issues in Spinoza’s thought illustrates for us their own concerns with becoming over substance and māyā, respectively. This investigation provides not just two interesting (...) and contradictory interpretations of Spinoza, but also gives us insight into Deleuze’s metaphysics and Tripathi’s Vedāntic philosophy. (shrink)

To make sense of what Gilles Deleuze understands by a mathematical concept requires unpacking what he considers to be the conceptualizable character of a mathematical theory. For Deleuze, the mathematical problems to which theories are solutions retain their relevance to the theories not only as the conditions that govern their development, but also insofar as they can contribute to determining the conceptualizable character of those theories. Deleuze presents two examples of mathematical problems that operate in this way, (...) which he considers to be characteristic of a more general theory of mathematical problems. By providing an account of the historical development of this more general theory, which he traces drawing upon the work of Weierstrass, Poincaré, Riemann, and Weyl, and of its significance to the work of Deleuze, an account of what a mathematical concept is for Deleuze will be developed. (shrink)

This paper aims to clarify the program of Deleuze’s work on Hume’s philosophy. Also, I plan to make clear the operational meaning of Deleuze’s own hallmark regarding his approaches to philosophy. I start to follow Deleuze’s plot by engendering three functions of his interpretation of Hume’s Treatise that will be the area of three thematic chapters. The first tries to sort the polemical function of empiricism that is launched through Deleuze’s Hume; the second attempts to figure (...) the domain of subjectivity as the inventive function of the book; the third searches the creative function by describing the role of the institutional theory. (shrink)

This essay describes and evaluates the conception of mereological structure that underpins Deleuze’s account of ontogenesis in Difference and Repetition. A theory of mereology is a theory of composition: it asks what it is to be a part making a whole, what it is to be a whole collecting its parts; in short, in what the relation of making or composing consists. The locus classicus for modern mereology is the third of Husserl’s Logical Investigations (‘On the Theory of Wholes (...) and Parts’), which deduces the definitions, axioms and principles governing the relation of parthood and associated notions, such as wholeness, separation, simplicity and complexity. My question is this: what happens to these notions when they are no longer the terms of a ‘calculus of individuals’ and, instead, become the terms of a differential calculus of individuation? (shrink)

Despite the distance between the philosophies of Merleau-Ponty and of Deleuze, it is possible to discover not only analogue complicity with regard to thecriticism addressed to Husserl. In the aesthetic, for example, we note that the last thoughtsof Merleau-Ponty, present mainly in The visible and the invisible, are a constant referencefor the works that Deleuze dedicates to the painter Francis Bacon. In the present researchwe expect to define the passages on account of the reading of Husserl, and to (...) show thepoint of contact between Merleau-Ponty and Deleuze. So, we hope to change the image of apparent indifference with regard to understanding their philosophies. (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)

El texto evalúa una de las maneras predominantes de la recepción de Gilles Deleuze. Establece una crítica de los desencuentros y misreadings en torno a la filosofía de Deleuze. Muestra esos desencuentros como un proceso sin contexto ni densidad histórica, sin unos mínimos elementos que permitan comprender los complejos procesos de su recepción. Mucho menos su genealogía. Para ello, el texto evalúa la lectura de Deleuze que hace Jacques Ranciere, a la luz de la recepción de ambos (...) en el contexto universitario norteamericano. (shrink)

The aim of this chapter is to test the degree to which Deleuze’s philosophy can be reconciled with the subject naturalist approach to pragmatism put forward by Macarthur and Price.

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)

There is no consensus regarding whether Gilles Deleuze offers a cogent theory of the Other. Deleuze develops the notion of the Other-structure, but given his scarce remarks on this concept, his treatment of this issue is debated. This article argues that to elucidate Deleuze's philosophy of the Other, his notion of the Other-structure must be analyzed in parallel to Edmund Husserl's intersubjective theory. This comparison, made possible by Natalie Depraz's reading of the Husserlian alterity, reveals nuanced phenomenological (...) traces in Deleuze's Other-structure and its implicated structural moments while substantiating his affirmation of the Otherless world, as an impetus to surpass phenomenology. (shrink)

This investigation constitutes an attempt towards (1) understanding issues and problems relating to the notions of one, many, part and whole in Parmenides and Plato; (2) extracting conditions for a successful account of multiplicity and parthood; (3) surveying Deleuzian conceptions and uses of these notions; (4) appraising the extent to which Deleuze’s metaphysics can answer some of these ancient problems concerning the status of multiplicity and the nature of mereological composition, that is, of the relations that pertain between parts (...) and the wholes that they compose. (shrink)

Sinema, genel olarak tüm sanat dalları, aynı anda hem bir sanat dalı ve politik-ekonomik bir kurumdur. Bir yanda elimizde hareketli imgeleri ışıkla selüloidden geçirerek ekrana yansıtan mecra film vardır. Tek tek filmler ise biçim ve içeriklerine göre birbirlerinden ayrılan ve analiz edilen münferit estetik objelerdir. Öte yanda ise film endüstrisi yer alır - filmleri planlayan, üreten, pazarlayan ve kitlelere izleten sanatsal, teknik ve ekonomik araçların oluşturduğu komplike ağ. Doğumundan bu yana sinemanın estetik ve politik açıları farklı formlarda birçok teorik analize (...) maruz kalmış, karşılığında bu analizler de çeşitli eleştirilerle irdelenmiştir. Bu metin bu analizlerin ve onlara yöneltilen eleştirilerin kısa bir incelemesini ve ardından film teorisine farklı bir yaklaşımın ana hatlarını sunacağım. Foucault ve Deleuze'ün fikirlerinden yola çıkan bu "anarşist" film teorisi, geçerli bir eleştirel metodoloji oluşturmanın yanısıra filmin özgürleştirici potansiyeline ışık tutmayı amaçlamaktadır. (shrink)

I demonstrate that Deleuze's identification of Aion as an empty form offers a fascinating model of temporality that prioritises variation. First, I suggest that Deleuze's identification of time as an empty form is supported by ancient Greek and Gnostic concepts of the relation of Aion and Chronos. From Plato, through Aristotle, to Plotinus the concept of time undergoes substantive revision, in the sense that temporal measurement becomes removed from the measurement of existent entities. This gradual untethering of time (...) from movement gives rise to the development of the concept of eternity as an ontologically comprehensive mode of time that is devoid of content. It is here, with Deleuze's reading of the Platonic cosmology, that we see the first hints of the suggestion that Aion is involved with ontogenesis. Eternity is characterised as: a temporal ‘all’ that is non-reducible to the determinacy implied by any particular temporally localised existent or temporal series ; that which tends towards a diversity of possible states of affairs. Perhaps one of the most interesting aspects in the long history of Aion is that – in the ancient world – it was used in magical incantations. For the Gnostics and Oracles, Aion was a deity, and a potent one at that. From the Gnostic papyri, we get a vision of Aion as a force which enjoys eternal realisation. I suggest that the papyri conjure an image of Aion as a deity that is liberated from time, in the sense that it enjoys a neutrality with respect to the movements of any particular entity or group of entities – a form, in the most general sense of the term. Then, to clarify this mercurial aspect of an empty form of time, I elaborate on a complex analogy between Aion and Deleuze's concept of an ‘ideal game’ – an analogy that Deleuze specifies through reference to Fitzgerald and Borges. The claim is that Aion is an analogue of an ideal game in the sense that both share essential properties. Both Aion and the ideal game involve the multiplication of chance. Finally, I suggest that the differential aspects of Aion imply that it is pure variability; something which can be illustrated through a differential equation. These yield the suggestion that Aion enjoys realisation as an ontogenetic force. I further claim that ontogenetic forces may enjoy expression as the content of literature and mathematics. In concrete terms, temporality is involved in the creation of existent entities, which may be illustrated as various types of continuous multiplicity. (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)

Deleuze's 'Difference and Repetition -Irfan Ajvazi.

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