This essay starts from a consideration of Deleuze's theory of time. It begins with the empty form of time. But the essay's aim is to understand Deleuze's reversal of Platonism in his 1968 Difference and Repetition. There is no question that the stakes of the reversal of Platonism are ontological. But I argue that what is really at stake is a movement of demoralisation. The essay proceeds in three steps. First, we determine what sufficient reason or grounding is, for Deleuze. (...) Sufficient reason is struck with an irreducible ambiguity. It is this ambiguity in sufficient reason that allows it to be taken advantage of, to be used by representation and good sense for a moral purpose. The second part of the essay will therefore concern ‘the moralisation of sufficient reason’. Its focus will be good sense. But then, third, we must understand Deleuze's ‘demoralisation of sufficient reason’, which necessarily passes through others. Like sufficient reason, others are ambiguous, at once lending themselves to what cancels differences, and opening the way towards difference and intensity. The third step focuses on what Deleuze calls ‘the ethics of intensive quantities’. In the Conclusion, I examine Deleuze's famous, almost cliché, definition of ethics as not being unworthy of the event and, through the empty form of time, I connect it to Kant's formalistic ethics. (shrink)

This article, focusing on the inclusion- in- notion principle in the philosophy of Leibniz and its reading by Gilles Deleuze, claims that Deleuzian approach in the philosophical critique of the philosophy of Leibniz leads to recreation of the concept of the fold and the subject of fold in Leibnizian thought. To achieve this goal, we initially provide an in-depth study of this principle and its related principles in his philosophy and place emphasis upon their ontological aspect. Then we organize Deleuze’s (...) reading of Leibniz’s philosophy around the inclusion-in-notion principle and picture the world of foldings as the outcome of such reading. We make an effort to clarify how the reading of this principle by Deleuze creates new possibilities in the philosophy of Leibniz and gives birth to the Leibnizian- Deleuzian subject of the fold. Therefore, in the last step, we study this Leibnizian- Deleuzian subject and its characteristics, which is the result of the inclusion- in- notion principle. (shrink)

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various (...) areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate. (shrink)