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Conor Heaney
University of Warwick
  1.  5
    Rhythmic Nootechnics: Stiegler, Whitehead, and Noetic Life.Conor Heaney - 2020 - Educational Philosophy and Theory 52 (4):397-408.
    In Taking Care of Youth and the Generations, Bernard Stiegler develops an account of the pedagogical responsibilities which follow from rhythmic intergenerational flows, involving the creation of milieus which care for and pay attention to the future, toward the creation of nootechnical milieus. Such milieus are defined by their objects of attention: political life, spiritual life, and political life; taken together: noetic life. Such is the claim Alfred North Whitehead makes when arguing that the sole object of education is life (...)
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  2. Pettman, Dominic. Infinite Distraction.Conor Heaney - 2016 - Theoria 63 (146):75-77.
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  3. Pursuing Joy with Deleuze: Transcendental Empiricism and Affirmative Naturalism as Worldly Practice.Conor Heaney - 2018 - Deleuze and Guattari Studies 12 (3):374-401.
    In this paper, I seek to extract what I call an empiricist mode of existence through a combined reading of two under-researched vectors of Gilles Deleuze's thought: his ‘transcendental empiricism’ and his ‘affirmative naturalism’. This empiricist mode of existence co-positions Deleuze's empiricism and naturalism as pertaining to a stylistics of life which is ontologically experimentalist, epistemologically open, and immanently engaged in the world. That is, a processual praxis of demystification and organising encounters towards joy.
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    Tragic Rhythms: Nietzsche and Agamben on Rhythm and Art.Conor Heaney - 2019 - Rhuthmos.
    This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben's discussion, first, of Nietzsche and the active nihilist's relation-ship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben's notion - (...)
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