The western philosophical tradition, with its focus on universal concepts and a presumed neuter, but ultimately male subject, has only relatively recently become open to the question of alterity, in particular the alterity of woman as the other of man. The essays of this volume reflect in particular on the ethical implications of taking the feminine other into account. This necessitates a rethinking of the implicit structures of Western philosophy which continue to exclude women as subjects who contribute to the (...) conceptualization of world and society. This volume, which gives voice to women philosophers, is a contribution to that task. (shrink)

Gilles Deleuze takes up the challenge to create a philosophy of the interesting, the remarkable and the unusual. He does this in what Alain Badiou calls the ‘‘Grand Style’’, the style of Descartes, Spinoza and Kant whose philosophies arise in relation to developments in the natural sciences and mathematics. Grounding himself in the molar-molecular pair, Deleuze sets out a new image of thought. He conceptualises an immanent but still relatively closed, deterministic, atomistic and reversible system that is not immediately reduced (...) to entropic equilibrium because its processes take place on the molecular level, at speeds which he hypothesises are beyond the speed of light. He postulates a manifold, a sphere of immanence that is the entire universe and not merely the Earth or our solar system. It is a system governed by sensitivity to initial starting points and unstable boundaries, thus although it is chaotic as well as probabilistic, it remains a mathematically formal, deterministic system. (shrink)

Dorothea Olkowski's exploration of the philosophy of Gilles Deleuze clarifies the gifted French thinker's writings for specialists and nonspecialists alike. Deleuze, she says, accomplished the "ruin of representation," the complete overthrow of hierarchic, organic thought in philosophy, politics, aesthetics, and ethics, as well as in society at large. In Deleuze's philosophy of difference, she discovers the source of a new ontology of change, which in turn opens up the creation of new modes of life and thought, not only (...) in philosophy and feminism but wherever creation is at stake. The work of contemporary artist Mary Kelly has been central to Olkowski's thinking. In Kelly she finds an artist at work whose creative acts are in themselves the ruin of representation as a whole, and the text is illustrated with Kelly's art. This original and provocative account of Deleuze contributes significantly to a critical feminist politics and philosophy, as well as to an understanding of feminist art. (shrink)

Gilles Deleuze: The Intensive Reduction brings together eighteen essays written by an internationally acclaimed team of scholars to provide a comprehensive overview of the work of Gilles Deleuze, one of the most important and influential European thinkers of the twentieth century. Each essay addresses a central issue in Deleuzeʹs philosophy (and that of his regular co-author, Félix Guattari) that remains to this day controversial and unsettled. Since Deleuzeʹs death in 1994, the technical aspects of his philosophy have been largely neglected. (...) These essays address that gap in the existing scholarship by focusing on his contribution to philosophy. Each contributor advances the discussion of a contested point in the philosophy of Deleuze to shed new light on as yet poorly-understood problems and to stimulate new and vigorous exchanges regarding his relationship to philosophy, schizoanlysis, his aesthetic, ethical and political thought. (shrink)

Dorothea Olkowski's exploration of the philosophy of Gilles Deleuze clarifies the gifted French thinker's writings for specialists and nonspecialists alike. Deleuze, she says, accomplished the "ruin of representation," the complete overthrow of hierarchic, organic thought in philosophy, politics, aesthetics, and ethics, as well as in society at large. In Deleuze's philosophy of difference, she discovers the source of a new ontology of change, which in turn opens up the creation of new modes of life and thought, not only (...) in philosophy and feminism but wherever creation is at stake. The work of contemporary artist Mary Kelly has been central to Olkowski's thinking. In Kelly she finds an artist at work whose creative acts are in themselves the ruin of representation as a whole, and the text is illustrated with Kelly's art. This original and provocative account of Deleuze contributes significantly to a critical feminist politics and philosophy, as well as to an understanding of feminist art. (shrink)

Olkowski proposes a model of phenomenology, both scientific and philosophical, that helps make sense of reality and composes an ethics for dealing with unpredictability in our world.

The Universal proposes a radically new philosophical system that moves from ontology to ethics. Drawing on the work of De Beauvoir, Sartre, and Le Doeuff, among others, and addressing a range of topics from the Asian sex trade to late capitalism, quantum gravity, and Merleau-Ponty's views on cinema, Dorothea Olkowski stretches the mathematical, political, epistemological, and aesthetic limits of continental philosophy and introduces a new perspective on political structures. Straddling a course between formalism and conventionalism, Olkowski develops (...) the concept of an ontological unconscious that arises from our "sensible" relation to the world-the information we absorb and emit that affects our encounters with the environment and others. In this "realm of the senses," or the field of vulnerability defined by our experience with pleasure and pain, Olkowski is able to rethink the space-time relations put forth by Irigaray's notion of the "interval," Bergson's "recollection," Merleau-Ponty's idea of the "flesh," and Deleuze's "plane of immanence." This aesthetic sense is shared by all humankind and nonhuman entities in the organic and inorganic world. The sensible universal can be applied to categories of pure and practical reason; experiential binaries of male-female and subject-object; and issues of autonomy, moral laws, and the regulation of perception. (shrink)

The contributors to this international volume take up questions about a phenomenology of time that begins with and attunes to gender issues. Themes such as feminist conceptions of time, change and becoming, the body and identity, memory and modes of experience, and the relevance of time as a moral and political question, shape Time in Feminist Phenomenology and allow readers to explore connections between feminist philosophy, phenomenology, and time. With its insistence on the importance of gender experience to the experience (...) of time, this volume is a welcome opening to new and critical thinking about being, knowledge, aesthetics, and ethics. (shrink)

The essays presented here by Olkowski and Weiss attempt to situate Merleau-Ponty in the larger context of feminist theory, while impartially evaluating his contributions, both positive and negative, to that theory.

Luce Irigaray is often cited as the principle feminist who adheres to phenomenology as a method of descriptive philosophy. A different approach to Irigaray might well open the way to not only an avoidance of phenomenology's sexist tendencies, but the recognition that the breach between Irigaray's ideas and those of phenomenology is complete. I argue that this occurs and that Irigaray's work directly implicates a Bergsonian critique of the limits of phenomenology.

Distinguished feminist philosophers consider the future of feminist phenomenology and chart its political and ethical future in this forward-looking volume. Engaging with themes such as the historical trajectory of feminist phenomenology, ways of perceiving and making sense of the contemporary world, and the feminist body in health and ethics, these essays affirm the base of the discipline as well as open new theoretical spaces for work that bridges bioethics, social identity, physical ability, and the very nature and boundaries of the (...) female body. Entanglements with thinkers such as Arendt, Beauvoir, Merleau-Ponty, Heidegger and Deleuze are evident as they reveal new directions for productive philosophical work. Grounded in the richness of the feminist philosophical tradition, this lively volume represents a significant opening to the possible futures of feminist phenomenological research. (shrink)

The chapter on temporality in Merleau-Ponty’s Phenomenology of Perception , is situated in a section titled, “Being-for-Itself and Being-in-the-World.” As such, Merleau-Ponty’s task in the chapter on temporality is to bring these two positions together, in other words, to articulate the manner in which time links the cogito (Being-for-Itself) with freedom (Being-in-the-World). To accomplish this, Merleau-Ponty proposes a subject located at the junction of the for-itself and the in-itself, a subject which has an exterior that makes it possible for others (...) to have an interior. This analysis will take Merleau-Ponty to an impasse where, on the one hand, there appears to be an objective world and the time of objects in that world, and on the other, there is the subject’s notion of events and the passing of time. Referring to Bergson’s notion of time, this essay proposes that there must be a temporal interval between perception, feeling and action in order for the subject to be “temporal by means of an inner necessity,” as Merleau-Ponty prescribes. (shrink)

In Creative Evolution, Bergson argues that life, the so-called inner becoming of things, does not develop linearly, in accordance with a geometrical, formal model. For Bergson as for classical science, matter occupies a plane of immanence defined by natural laws. But he maintains that affection is not part of that plane of immanence and that it needs new kind of scientific description. For Deleuze, affection does belong to the plane of immanence whose parts are exterior to one another, according to (...) classical natural laws. Out of this may be cut the closed, mechanical world with its immobile sections that Bergson attributes to cinematographic knowledge. Thus, in place of a science of creative evolution, Deleuze has substituted external relations, blocs of becoming and ultimately, a theory of extinction. (shrink)

: Luce Irigaray is often cited as the principle feminist who adheres to phenomenology as a method of descriptive philosophy. A different approach to Irigaray might well open the way to not only an avoidance of phenomenology's sexist tendencies, but the recognition that the breach between Irigaray's ideas and those of phenomenology is complete. I argue that this occurs and that Irigaray's work directly implicates a Bergsonian critique of the limits of phenomenology.

This book demonstrates how Merleau-Ponty's understanding of the continuity of inner and psychological life (interiority) and the material world (exteriority) ...

The collection also contains a comprehensive bibliography of feminist thinkers who are enacting French philosophy in English, German, and French.

Joseph Nechvatal 'La Beaute tragique: Olkowski, Deleuze, and the 'Ruin of Representation'' _Film-Philosophy_, Deleuze Special Issue vol. 5 no. 36, November 2001.

PhaenEx, Vol 1, No 1 (2006) Maurice Merleau-Ponty: Intertwining and Objectification Dorothea OlkowskiIn chapter four of The Visible and the Invisible, titled ``The Intertwining -- The Chiasm,'' Merleau-Ponty considers the relation between the body as sensible, which is to say ``objective,'' and the body as sentient, that is, as ``phenomenal'' body. He makes this inquiry in the context of interrogating the access of such a sensible-sentient or objective-phenomenal body to Being. ``Objectivity'' and the objective body, as Merleau-Ponty defines it (...) in the Phenomenology of Perception, are to be determined in relation to experience. Objectivity requires knowing how it is possible for determinate shapes to be available for experience at all. But the possibility of determinate shapes is also called into question by Merleau-Ponty insofar as the body is experienced as a point of view on things; thus every body would experience a different point of view, even though things are given as abstract elements of one total world. Since the two elements form a system, an intertwining, in which each moment (that of a body with a particular point of view and that of things in the totality of their world) is immediately expressive of each other, objectivity would seem to be hard to achieve. The relationship between body and things, point of view and world, if the relata continually express one another, would appear to be anything but determinate and the question of how objectivity is possible remains unanswered. This essay will explore this question in the light of Merleau-Ponty's (mis-) reading of Henri Bergson and from the point of view of Sartre's original expression of the relation of intertwining. (shrink)

According to Gilles Deleuze, the underground world of Alice in Wonderland has been strongly associated with animality and embodiment. Thus the need for Alice's eventual climb to the surface and her discovery that everything linguistic happens at that border. Yet, strangely, in spite of the claim that Alice disavows false depth and returns to the surface, it seems that it is precisely in the depths that she finally wakes from her sleepy, stupified surface state and investigates the deep structures, the (...) rules of logic. In this investigation, Alice questions many formal structures, such as causality, identity, reference and the rules of replacement. She discovers that Wonderland does not generate consequential conduct; in fact, it generates no conduct whatsoever! In other words, when it comes to consequences, Wonderland may not be all that wonderful. Yet, we do not live in Wonderland and therefore, our actions have consequences. The question this poses is, why organise language so as to escape causal relations and why choose the little girl as emblematic of this organisation? (shrink)

Heidegger has shown how the subject-predicate structure of language and the substance-accident structure of things are both derived from the analysis of the "mere thing" into some matter that stands together with some form, a form always determined by the use to which the thing will be put. Regardless of what we try to say, discourse concerns itself with some subject related to some predicate in a manner indicating either that it is useful or that it is stripped bare of (...) usefulness. ;Therefore, within the law of contradiction, that is, insofar as "S is P," our thought is always already structured by this obscure origin. The system of discourse always signifies and represents, the appearance of the thing becomes constant, language becomes constant: form and matter, subject and predicate. ;All attempts to directly oppose the discursive system result in cooption. Yet, Kant and Hegel make way for the spatial and temporal, thus discursive counter to the significational system. They do this not by directly confronting it in order to produce yet another level of signification, but by opening up a space for thought. Kant discovers the acategorical "sublime," and Hegel dissolves the substantiality of the object, opening up the possibility of other logics and grammars. ;There emerged a surplus never completely enframed by discourse. Painting deliberately evaded the realm of non-contradiction, politely declined the positing of significations, the logic and grammar of an object with or without use. It has brought us to a confrontation with "stupidity," where there is nothing to know , and there is no history . There is only a great despair. ;Yet, this despair is thought facing its own dogmatism, recognizing that there is "something happening" rather than nothing, and seeking its orientation from this "it is happening," rather than from discourse dominated by a single logic, a single grammar, a single truth. (shrink)

"Most of the essays gathered in this volume have had an earlier life... at the international conference 'Gilles Deleuze and Fâelix Guattari: Refrains of Freedom'... held at the Panteion University of Social and Political Sciences in Athens, Greece in April 2015" --ECIP galley, translator's prologue.

The philosophy of Deleuze is as relevant to contemporary thought as it is obscure and complex. Deleuze at the End of the World guides readers through this maze by exploring the raw material that Deleuze took from thinkers in various fields of knowledge to construct his own concepts, some of them well known (such as Hegel, Kant, Husserl, Balibar and Blanchot) and some widely unexplored (Selme, Guillaume, Bakhtine and Dalcq). At the same time, readers will gain access to Latin American (...) perspectives on contemporary philosophy. (shrink)

In Anti-Oedipus, Gilles Deleuze and Félix Guattari maintain that nature is a process in which there is neither nature nor human being, except as a single reality produced in the processes of production, distribution and consumption, where distributions are immediately consumed and the consumptions immediately reproduced. In its historical realization, this is the process of capitalism, which must be an effect of such processes, processes of nature and human nature. This gives rise to this question: given the rules governing nature, (...) including human nature, how much contingency is there and how much determinism? And ultimately, is capitalism inevitable? (shrink)

In Bodies That Matter Judith Butler reflects upon the relationship between women and materiality in the context of the history of philosophy. She points to the presumption of the material irreducibility of sex as the ground of feminist epistemology and ethics and analyses of gender. She also finds a similarity between Aristotle's principles of formativity and intelligibility and Foucault's discussion of how discourse materializes bodies. While Butler's analysis reveals much about the history of philosophy with regard to the discourse on (...) matter and women, nonetheless, she appears to begin with the notion of bodies as largely passive, even negative entities. Addition ally, her analysis also implies that principles of formativity and intel ligibility are historically contingent. This essay seeks to undermine those two positions in preparation for inaugurating a positive theory of fluid structures. (shrink)