Nietzsche : by way of an introduction -- Winnicott : the psychoanalytic family -- Anti-Oedipus : reading, listening, analysing -- Process notes : productions and syntheses -- Sophocles : under the sign of nemesis -- Cixous : the unseen seen -- Dôsirand : the transitional subject.

Through the philosophies of Bergson and Deleuze, my paper explores a different theory of time. I reconstitute Deleuze’s paradoxes of the past in Difference and Repetition and Bergsonism to reveal a theory of time in which the relation between past and present is one of coexistence rather than succession. The theory of memory implied here is a non-representational one. To elaborate this theory, I ask: what is the role of the “virtual image” in Bergson’s Matter and Memory? Far from representing (...) the simple afterimage of a present perception, the “virtual image” carries multiple senses. Contracting the immediate past for the present, or expanding virtually to hold the whole of memory (and even the whole of the universe), the virtual image can form a bridge between the present and the non-representational past. This non-representational account of memory sheds light not only on the structure of time for Bergson, but also on his concepts of pure memory and virtuality. The rereading of memory also opens the way for Bergsonian intuition to play an intersubjective role; intuition becomes a means for navigating the resonances and dissonances that can be felt between different rhythms of becoming or planes of memory, which constitute different subjects. (shrink)

This paper develops a detailed reading of Deleuze's philosophical study of Bacon's triptychs in Francis Bacon: The Logic of Sensation. It examines his claims regarding their apparent non-narrative status, and explores the capacity of the triptychs to embody and express a spiritual sensation of the eternity of time.

In the twenty-second series of The Logic of Sense, Gilles Deleuze references a remarkable essay by Günther (Stern) Anders. Anders’ essay, translated here as ‘The Pathology of Freedom’, addresses the sickness and health of our negotiation with the negative anthropological condition of ‘not being cut out for the world’.

Germinal Life embarks on a fascinating tour of ethology, biology, ethics, literature and cyborgs. Opening with a linking of Richard Dawkin's theory of the extended phenotype and Deleuzian thought, Ansell Pearson introduces the idea of germinal life to challenge traditional notions of ethology and philosophy. By revisiting nineteenth century Darwinism and the origins of germ science, Keith Ansell Pearson develops a stunning reading of Deleuze's key texts. He also introduces highly original interpretations of classic modern literature, including Thomas Hardy's Tess (...) and D.H.Lawrence's Kangaroo before connecting these themes with cyborgism and the work of the performance artist Stelarc. As a companion to Ansell Pearson's Viroid Life, which explored Nietzsche's philosophy of the human, Germinal Life provides a highly original study of the biophilosophical aspects of Deleuze's thought. (shrink)

The paper discusses Deleuze's concept of the feminine through exploration of the questions of eating, cooking, and specifically anorexia, as well as an ‘anorexic relation’ to fashion and dressing. It argues that anorexia should be understood as a micro-political experimentation in fashioning one's own body on its flight to becoming woman. In accordance with Deleuze's ontology of the surface, the anorexic body can be seen as the invention of the BWO that forms an assemblage with clothes and, in so becoming (...) different, invents for itself different desires. (shrink)

The work of Gilles Deleuze and Felix Guattari has been inspirational for architects and architectural theorists in recent years.

Part of a series on the question of what is the good life, the essay is structured as a montage. Part 1 contests the received notion that death is exterior to the work of Deleuze. To this end, it gathers together a telegraphic collection of examples – ‘corpses’ in his corpus – that invariably show up whenever the question is raised. Part 2 attempts a Deleuzian move: it puts death to work. If death is not nothing, it argues, it must (...) be productive of something absolutely new. Drawing upon Blanchot's seminal essay, ‘The Two Versions of the Imaginary’, it makes the case that this creation is the cadaver: the first time-image. (shrink)

Repetition plays a significant, productive role in the work of both Derrida and Deleuze. But the difference between these two philosophers couldn''t be greater: it is the difference between negation and affirmation, between Yes and No. In Derrida, the productive energy of repetition derives from negation, from the necessary impossibility of supplementing an absence. Deleuze recognizes the kind of repetition which concerns Derrida, but insists that there is another, primary form of repetition which is fully positive and affirmative. I will (...) argue that there is nothing in Derrida''s philosophy to match the affirmative, primary form of repetition articulated by Deleuze. Moreover, it is precisely this difference that accounts for the most exciting features of Deleuze''s work: the possibility of breaking through to the other side of representation, beyond authenticity and inauthenticity, becoming-becoming. (shrink)

Exploring the evolution of the conceptual persona of the idiot from the philosophical idiot in Deleuze to the Russian idiot in Deleuze and Guattari, this article suggests that their use of the figure of Antonin Artaud as a model for an idiocy that is freed from the image of thought is problematic since Artaud in fact evinces a nostalgia for the capacity for thought. The article invites the writings of Kathy Acker and argues that Acker makes possible a more successful (...) way of thinking of the event of thought beyond the Image and thereby a new conceptual persona of the post-Russian idiot. (shrink)

In 1967, after a talk Deleuze gave to the Society of French Philosophy, Ferdinand Alquiéé expressed concern during the question and answer session that perhaps Deleuze was relying too heavily upon science and not giving adequate attention to questions and problems that Alquiéé took to be distinctively philosophical. Deleuze responded by agreeing with Alquiéé; moreover, he argued that his primary interest was precisely in the metaphysics science needs rather than in the science philosophy needs. This metaphysics, Deleuze argues, is to (...) be done ‘‘in the style of Whitehead’’ rather than the style of Kant, and in developing this metaphysics Deleuze draws heavily on Spinoza. The present essay examines this Deleuzian-Spinozist metaphysics done in the style of Whitehead, the ‘‘metaphysics science needs’’, drawing on the writings of David Hume and Bruno Latour in the process. This discussion will in turn enable us to situate Deleuze's metaphysics in relation to contemporary debates concerning speculative realism and correlationism, and especially Quentin Meillassoux's critique of the latter. Our conclusion will be that the kind of metaphysics Deleuze pursues is neither correlationist nor straightforwardly realist, but rather charts a course between realism and anti-realism. (shrink)

If a machine is something that cuts into a continuous flow, schizoanalysis can be read, quite literally, as an analysis of cuts. In cinematic registers, it is an analysis of montage. Looking closely at a number of modes and moments of montage in the work of Alfred Hitchcock, this paper shows how his strategies of ‘reciprocally presupposing’ actual image and virtual montage relate to a Deleuzian poetics and politics of the cinema.

This paper explores the themes of apathy and activism by contrasting the conventionally negative concept of motivational desire-lack with Deleuze and Guattari's positive concept of ‘desiring-production’. I suggest that apathy and activism are both problematically tied to the same motivational force: the conventional negativity of desire, which results in a ‘split subject’ always already ‘undone’ by difference. The philosophy of positive desiring-production provides alternative concepts of motivation and selfhood, not characterised by generative lack or alienation. On the contrary, this alternative (...) ontology describes an identity that is not primarily ‘undone’ by difference, but ‘done’ or ‘made’ through the complex and piecemeal relations it forges with various aspects of the bodies it encounters. Understood as a complex multiplicity, the self or community accordingly has a primary, immediate and active interest in the quality of its multifaceted relations with others. Finally, I argue that some contemporary forms of activism can be read as practices aimed at creating and safeguarding the social conditions that foster the complex relational composition of selves and communities. (shrink)

When is the future? Is it to come or is it already here? This question serves as the frame for three further questions: why is utopia a bad concept and in what way is fabulation its superior counterpart? If the object of fabulation is the creation of a people to come, how do we get from the present to the future? And what is a people to come? The answers are (1) that the future is both now and to come, (...) now as the becoming-revolutionary of our present and to come as the goal of our becoming; (2) utopia is a bad concept because it posits a pre-formed blueprint of the future, whereas a genuinely creative future has no predetermined shape and fabulation is the means whereby a creative future may be generated; (3) the movement from the revolutionary present toward a people to come proceeds via the protocol, which provides reference points for an experiment which exceeds our capacities to foresee; (4) a people to come is a collectivity that reconfigures group relations in a polity superior to the present, but it is not a utopian collectivity without differences, conflicts and political issues. Science fiction formulates protocols of the politics of a people to come, and Octavia Butler's science fiction is especially valuable in disclosing the relationship between fabulation and the invention of a people to come. (shrink)

Thomas Mann's Doctor Faustus traces the life of the composer Adrian Leverkühn, whose career culminates in the compositions Apocalipsis cum figuris and The Lamentation of Doctor Faustus. Mann treats Apocalipsis as the endpoint of a dangerous modernism allied to fascism, and The Lamentation as its partial antidote. From Deleuze and Guattari's perspective, however, Apocalipsis is a positive musical becoming-other and The Lamentation a regression. Crucial to the contrasting interpretations of Apocalipsis are two very different conceptions of modernity and fascism, that (...) of Deleuze and Guattari providing a means of valorising becoming as a mode of aesthetic and political invention and redefining modernism and fascism. (shrink)

Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.

Gilles Deleuze has produced some of the most important--and most formidable--theory on cinema to appear in the last half-century. Deleuze on Cinema provides a thorough and reliable guide to Deleuze's thought on the art of film, elucidating in clear language the shape and thrust of Deleuze's arguments found in his influential books on cinema.

This is the first comprehensive introduction to Deleuze's work on literature. It provides thorough treatments of Deleuze's early book on Proust and his seminal volume on Kafka and minor literature. Deleuze on Literature situates those studies and many other scattered writings within a general project that extends throughout Deleuze's career-that of conceiving of literature as a form of health and the writer as a cultural physician.

Nietzsche's model of eternal return triggers a drama of affirmation, the overcoming of a simple miming of our ancestors in favour of an active participation in the counter-actualisation of hidden potentials in recurrent events. Based on a close study of Zarathustra's struggle to free himself from a suffocating nihilism, the paper focuses on the revelatory caesura that ushers in what Deleuze calls the third synthesis of time, a time of ‘doing’ rather than reflection.

This paper argues that Chris Marker's 1982 film Sans Soleil derives its affective force from doublings and ‘faces’ of horror and beauty that reveal a twofold synthesis of actual and virtual. While a focus upon the material, ever in relation to transient yet lingering sensations, cannot discharge the power and force of the film, this paper endeavours nevertheless to assess and evoke Marker and Deleuze's own interrogative methods that thoroughly explore, in the manner of a revelatory ‘schizoanalysis’ or empiricism, molecular (...) and variable operations beneath our ‘molar’ structures and organisations. As Sans Soleil's voiceover states, ‘If they don't see happiness in the picture, at least they'll see the black’, a provocative remark that invokes indefinable singularities and the darkness of a wound, cracking of time and splitting of self in film, life and death. Considerations of death, consciousness and subjectivity extend this paper's examinations. (shrink)

In The Logic of Sense, Deleuze effectively argues that two types of relation between events govern their ‘evental’ or ‘ideal play’, and ultimately underlie determined substances, that is, worldly individuals and persons. Leibniz calls these relations ‘compossibility’ and ‘incompossibility’. Deleuze calls them ‘convergence’ and ‘divergence’. This paper explores how Deleuze appropriates and extends a number of Leibnizian concepts in order to ground the idea that events have ontological priority over substances ‘all the way down’.

From one end of his philosophical work to the other, Gilles Deleuze consistently described his position as a transcendental empiricism. But just what is transcendental about Deleuze’s transcendental empiricism? And how does his position fit with the traditional empiricism articulated by Hume? In Difference and Givenness , Levi Bryant addresses these long-neglected questions so critical to an understanding of Deleuze’s thinking. Through a close examination of Deleuze’s independent work--focusing especially on Difference and Repetition-- as well as his engagement with thinkers (...) such as Kant, Mai;mon, Bergson, and Simondon, Bryant sets out to unearth Deleuze’s transcendental empiricism and to show how it differs from transcendental idealism, absolute idealism, and traditional empiricism. What emerges from these efforts is a metaphysics that strives to articulate the conditions for real existence, capable of accounting for the individual itself without falling into conceptual or essentialist abstraction. In Bryant’s analysis, Deleuze’s metaphysics articulates an account of being as process or creative individuation based on difference, as well as a challenging critique--and explanation--of essentialist substance ontologies. A clear and powerful discussion of how Deleuze’s project relates to two of the most influential strains in the history of philosophy, this book will prove essential to anyone seeking to understand Deleuze’s thought and its specific contribution to metaphysics and epistemology. (shrink)

Jakob von Uexküll's theories of life -- Biography and historical background -- Nature's conformity with plan -- Umweltforschung -- Biosemiotics -- Concluding remarks -- Marking a path into the environments of animals -- The essential approach to the organism -- Heidegger and the biologists -- Paths to the world -- Disruptive behavior : Heidegger and the captivated animal -- The worldless stone -- The poor animal -- For example, three bees and a lark -- Animal morphology -- A shocking wealth (...) -- A fine line in the rupture of time -- An affected body -- The theme of the animal melody : Merleau-Ponty and the umwelt -- The structure of behavior -- A pure wake, a quiet force -- A leaf of being -- Interanimality -- The-animal-stalks-at-five-oclock : Deleuze's affection for Uexküll -- Problematic organisms -- Uexküll's ethology of affects -- The body without organs, the embryonic egg, and prebiotic soup -- Nature's refrain sung across milieus and territories -- The animal stalks. (shrink)

Critical responses to Wide Sargasso Sea have seized upon Rhys's novel as an exemplary model of writing back. Looking beyond the actual repetitions which recall Brontë’s text, I explore Rhys's novel as an expression of virtual difference and becomings that exemplify Deleuze's three syntheses of time. Elaborating the processes of becoming that Deleuze's third synthesis depicts, Antoinette's fate emerges not as a violence against an original identity. Rather, what the reader witnesses is a series of becomings or masks, some of (...) which are validated, some of which are not, and it is in the rejection of certain masks, forcing Antoinette to become-Bertha, that the greatest violence lies. (shrink)

Against those who wish to marginalise Deleuze's political relevance, this paper argues that his work – including and especially that produced before his collaborations with Guattari – is not only fundamentally political but also profoundly engaged with Marx. The paper begins by focusing on different possible strategies for contesting the claim that Deleuze is apolitical, attempting to debunk this claim by briefly considering Deleuze's work with Guattari. The bulk of the paper is concerned with a close examination of the appearance (...) of Marx in both Nietzsche and Philosophy and Difference and Repetition, establishing that the ‘pre-Guattari’ Deleuze was fully engaged with both politics and Marx and demonstrating that the concepts and arguments of the Marxist politics of the Deleuze–Guattari books can be traced back to Deleuze's own work. It is argued that an analysis of Deleuze's work on Marx is significant not only for deepening our understanding of Marx, but also for understanding the possibilities for Deleuzian politics. (shrink)

This paper critically examines the materialism that Gilles Deleuze espouses in his oeuvre to the benefit of educational theory. In Difference and Repetition, he presented transcendental empiricism by underwriting Kant with realism (Deleuze, 1994). Later, in Capitalism & Schizophrenia I & II that were co-written with Félix Guattari (1984, 1988) and that they named Anti-Oedipus and A Thousand Plateaus, Deleuze's philosophical approach is realigned into what I term here as transcendental materialism, and latterly as immanent materialism; that I claim effectively (...) eliminate phenomenology as perceptual input. This essay takes this transformation seriously as a way of understanding educational data, research and practices. The proposition that is central to this paper is that transcendental and immanent materialism give us a means of dealing with educational phenomena without the interference of perception or a stable category of experience, by connecting data with theory and circumventing subjectification. It is argued that this proposition has important consequences for educational research, and the construction of educational arguments that will be illustrated in this essay. Deleuze's debt to French Marxism and in particular to the work of Louis Althusser are also recognised through this writing. (shrink)

The actions of affect are prominent in the philosophy of Gilles Deleuze and can be broken down for the purposes of education into two roles. The first alludes to the history of philosophy and the ways in which affect has been used by Spinoza (Deleuze, 1992) Nietzsche (Deleuze, 1983) or Bergson (Deleuze, 1991). In this role, Deleuze reinvigorates and challenges definitions of affect that would place them into systems of understanding that could take paths to metaphysics or to becoming paradigms (...) for capture in any further theorisation of affect. For example, scholars might attest to the use of affect as defined by Spinoza in the Ethics. Deleuze (1983, 1991, 1992) attends to the ways in which scholarly understanding of affect has been broached in order to free the idea up for empirical studies and also to show that the power of didactic language may be subsumed and subverted. The second role of affect in the work of Deleuze comes about in his first two co-authored books that he produced with Félix Guattari (Deleuze & Guattari, 1984, 1988). These publications have a distinct purpose from the scholarly work, which this article shall examine in terms of educational activism, group identities and the sociology of education. This level imbues the use of language in pedagogic acts with an intense affective resonance and the multiple traces of becoming that might be present in any teaching and learning context. (shrink)

Introduction: The problem of vitalism : active/passive -- Brain, system, model : the affective turn -- Vitalism and theoria -- Inorganic art -- Inorganic vitalism -- The vital order after theory -- On becoming -- Living systems, extended minds, gaia -- Conclusion.

In On Touching Derrida locates Jean-Luc Nancy (and, briefly, Gilles Deleuze) within a tradition of haptic ethics and aesthetics that runs from Aristotle to the present. In his early work on Husserl, Derrida had already claimed that phenomenology's commitment to the genesis of sense and the sensible is at one and the same time a commitment to pure and rigorous philosophy at the same time as it threatens to over-turn the primacy of conceptuality and cognition.Whereas Nancy (and those other figures (...) whom Derrida cites, such as Merleau-Ponty) express a faith in a return to the sensibility of flesh, Derrida presents his own work as manifestly more cognisant of the necessary distance between flesh and sense. Another ‘approach’ to the haptic is suggested by Gilles Deleuze, whose work Derrida locates within phenomenological presence, despite Deleuze and Guattari's trenchant rejection of ‘the lived’ and the human organism that inevitably subtends any discussion of the relation between sensibility and sense. Rather than decide for or against this border between flesh and cognition, between post-deconstruction and deconstructive rigour, this essay examines this curious border of touch between philosophy and sensibility, and does so by referring to William Blake's problem of returning the signs of sense to the sensibility of the hand. (shrink)

Cinema, thought and time -- Deleuze's cinema books -- Technology -- Essences -- Space and time -- Bergson, time, and life -- The movement-image -- The history of time and space and the history of cinema -- The movement-image and semiotics -- Styles of sign -- The whole of movement -- Image and life -- Becoming-inhuman, becoming imperceptible -- The deduction of the movement-image -- Art and time -- Destruction of the sensory motor apparatus and the spiritual automaton -- Time (...) and money -- Art and history -- Monument -- Framing, territorialization, and the plane of composition -- Politics and the origin of meaning -- Transcending life and the genesis of sense -- Beyond symbolic and imaginary -- Shit and money -- Exchange, gift, and theft -- The fiction of mind -- Collective investment and group fantasy -- The time of man -- The intense germinal influx. (shrink)

An accessible introduction to the contemporary thought of Deleuze.

One of the twentieth-century's most exciting and challenging intellectuals, Gilles Deleuze's writings covered literature, art, psychoanalysis, philosophy, genetics, film and social theory. This book not only introduces Deleuze's ideas, it also demonstrates the ways in which his work can provide new readings of literary texts. This guide goes on to cover his work in various fields, his theory of literature and his overarching project of a new concept of becoming.

The essay consists of three parts: the first argues that Deleuze's moral philosophy in The Logic of Sense provides an ethical model of counter-actualisation; the second shows how three different practices of art therapy offer a means to effect this counter-actualisation and thereby demonstrate the restorative power of art; the third explores how such a power might form part of what Guattari calls the ‘ethico-aesthetic paradigm’ (Guattari 1995).

This paper utilises Deleuze's Logic of Sensation to critique the concept ‘Figure’ that he raises to formulate this theory in his monograph of Francis Bacon. Deleuze engages with Bacon's paintings to demonstrate how sensations from Figural artworks rupture through representation and disrupt binary logic. However, in his argument Deleuze seems to use the same kind of thinking that he intends the Figure to disrupt, since he prioritises and secludes art deemed Figural over and above abstraction. Such problematic categorisation is challenged (...) here, by juxtaposing Figural and abstract paintings by Francis Bacon and Wassily Kandinsky. Both Figural and abstract works resound with The Logic of Sensation, which thereby spills over those boundaries posited by Deleuze's Figure. (shrink)

Introduction : Deleuze's cinematographic consciousness -- Ciné-system -- Movement : the movement-image -- Frame, shot and cut -- Montage -- Perception -- Affect -- Action -- Transsemiotics -- Signs (vector) -- Time -- Politics -- Topology -- Thought -- Conclusion : cinematographic ethics.

This paper tests the aesthetic theory presented in Francis Bacon: The Logic of Sensation against the Foucauldian Turn in art in the 1980s and Damien Hirst's early artworks, in order to ask if the concepts taken from the more general aesthetics to be found in A Thousand Plateaus and What is Philosophy? are better suited to an understanding of contemporary art, before returning to the question of whether there is something truly significant at work in this folie à deux between (...) painter and philosopher. (shrink)

The reversal in the relation of time and movement which Deleuze describes in his Cinema books does not only concern a change in the filmic arts. Deleuze associates it with a wider Copernican turn in science, philosophy, art and indeed modern experience as a whole. Experience no longer consists of an idea plus the time it takes to realize it. Instead, time is implicated in the determination, literally the creation of the terminus of any movement of experience. Deleuze describes this (...) open movement structure as determinable virtuality. Because it is determinable, experience as a whole is neither actual nor actualisable. The whole is virtual. I use the phrase determinable virtuality as a kind of organizational device with which to organise a study of the reversal of time and movement in Deleuze's work. I study the concept of determinability as it appears in Deleuze's reading of the relation of time and movement in Kant's description of the whole of possible experience, or the Transcendental Ideas. In a following section I take up the idea of virtuality which I trace back to Duns Scotus who uses the idea of the virtual to distinguish between univocal and equivocal movements, forms of movement which, I argue, anticipate the kinostructures and chronogeneses, or movement and time-images which Deleuze places at the center of his work on cinema. (shrink)

This book provides rigorous analyses of Deleuze's writings on theatre practitioners such as Artaud, Beckett and Carmelo Bene, as well as offering innovative ...

This paper is an attempt to identify the source of Deleuzian thought, that is, the "plane" or "image" from which it unfolds despite its many twists and turns. This, I believe, is immanence. The thread of immanence appears most clearly in What Is Philosophy? but can be shown to have been at work from the very start. But immanence is not just the plane of Deleuzian thought. It is also, and above all, that of philosophy itself, especially in its difference (...) from religion and onto-theology. This in turn means that, following Spinoza and his univocal ontology, Deleuzian thought can be seen as completing or realizing the conditions of philosophy itself. (shrink)

This essay looks at Fassbinder's Berlin Alexanderplatz to trace the film's transformation of a mechanistic scientific discourse into affective indeterminacy. Through patterns of repetition of a key event, the film considers its protagonist as a complex web of constantly shifting forces – a network of biological, social, political and semiotic flows coalescing in a body that exists in a state of perpetual oscillation between force and mutilation, ecstasy and pain. The role of physics and other materialist discourses in the film (...) is thus not to fixate subjectivity, but rather to provide a passage into its affective transformations and the intense desubjectification that results. (shrink)

In The Fold Deleuze proposes a new and radical way of understanding philosophy and art.

Yet this is more than a major work on Nietzsche; the book opened a whole new avenue in post-war thought.

Of fundamental importance to literary critics and philosophers, Difference and Repetition develops two central concepts -- pure difference and complex ...

This book, which presents Spinoza's main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical ...

New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French ...

: What makes us think, and what makes us think as feminists? In seeking to answer these questions, this paper draws on both Deleuze and Guattari's account of the creation of concepts, and feminist thought on feminist thinking, before suggesting with Levinas that our relation to ideas is primarily affective. Via further engagement with Levinas, I argue that it is the relation to the other which provokes and produces thought; models of autonomous theorizing are thereby supplanted by the teaching of (...) the other. (shrink)

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (...) (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘‘the earth’’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself. (shrink)

This essay sets out from the premise that the films of Jacques Rivette merit sustained reconsideration in the framework provided by Deleuze's Cinema 2: The Time-Image. In particular it explores the concepts of ‘the powers of the false’ and ‘fabulation’ as ways of engaging with Rivette's cinematic oeuvre, with a particular focus on his Paris-set films. On this basis the article seeks to add to the readings undertaken by Deleuze himself and, in the light of Rivette's cine-thinking, to examine in (...) tandem both films to which Deleuze directly responded, such as Le Pont du nord, and later post-Deleuze renegotiations of the city such as Secret défense. (shrink)

This book provides a clear and concise introduction to the philosophy of Gilles Deleuze. As the first book to offer a comprehensive analysis of Deleuzes writings, it reveals both the internal coherence of his philosophy and its development through a series of distinct phases, showing its implications for a wide range of human sciences.

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)

The role of mathematics in the development of Gilles Deleuze's (1925-95) philosophy of difference as an alternative to the dialectical philosophy determined by the Hegelian dialectic logic is demonstrated in this paper by differentiating Deleuze's interpretation of the problem of the infinitesimal in Difference and Repetition from that which G. W. F Hegel (1770-1831) presents in the Science of Logic . Each deploys the operation of integration as conceived at different stages in the development of the infinitesimal calculus in his (...) treatment of the problem of the infinitesimal. Against the role that Hegel assigns to integration as the inverse transformation of differentiation in the development of his dialectical logic, Deleuze strategically redeploys Leibniz's account of integration as a method of summation in the form of a series in the development of his philosophy of difference. By demonstrating the relation between the differential point of view of the Leibnizian infinitesimal calculus and the differential calculus of contemporary mathematics, I argue that Deleuze effectively bypasses the methods of the differential calculus which Hegel uses to support the development of the dialectical logic, and by doing so, sets up the critical perspective from which to construct an alternative logic of relations characteristic of a philosophy of difference. The mode of operation of this logic is then demonstrated by drawing upon the mathematical philosophy of Albert Lautman (1908-44), which plays a significant role in Deleuze's project of constructing a philosophy of difference. Indeed, the logic of relations that Deleuze constructs is dialectical in the Lautmanian sense. (shrink)

Of all twentieth century philosophers, it is Gilles Deleuze whose work agitates most forcefully for a worldview privileging becoming over being, difference over sameness; the world as a complex, open set of multiplicities. Nevertheless, Deleuze remains singular in enlisting mathematical resources to underpin and inform such a position, refusing the hackneyed opposition between ‘static’ mathematical logic versus ‘dynamic’ physical world. This is an international collection of work commissioned from foremost philosophers, mathematicians and philosophers of science, to address the wide range (...) of problematics and influences in this most important strand of Deleuze’s thinking. Contributors are Charles Alunni, Alain Badiou, Gilles Châtelet, Manuel DeLanda, Simon Duffy, Robin Durie, Aden Evens, Arkady Plotnitsky, Jean-Michel Salanskis, Daniel Smith and David Webb. (shrink)