Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (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.

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 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; 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; 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; 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)

Focuses on Deleuze's style, his conception of the self, and his understanding of philosophy's relationship to the arts.

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.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

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.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

The score of Piece Four of Sylvano Bussotti's Five Piano Pieces for David Tudor is the most important image in A Thousand Plateaus. It serves as a prefatory image not only to the Rhizome plateau, but also to the work as a whole. It functions as the book's musical score, guiding readers in their performance of the text. Embracing John Cage's graphism and aleatory practices, Bussotti created his own ‘aserial’ new music, one that celebrated passion and Bussotti's open homosexuality. The (...) visual elements of Piece Four include a deterritorialisation of the standard piano score, a diagram of the composition's abstract machine, and a drawing that Bussotti had produced ten years before writing Five Piano Pieces for David Tudor. The drawing itself is a rhizomic artwork, with details that echo visual motifs throughout A Thousand Plateaus. The superimposition of the drawing on the deterritorialised framework of the standard piano score conjoins the visible and the audible, faciality and the refrain, in a single artefact. (shrink)

A review of Rockwell F. Clancy, Towards a Political Anthropology in the Work of Gilles Deleuze: Psychoanalysis and Anglo-American Literature.

In Gilles Deleuze's philosophy, becoming is one of central metaphors; and the concept of becoming resonates with a number of contemporary debates in educational theory (Semetsky 2006, 2008). Several of Deleuze's philosophical works were written together with practicing psychoanalyst Felix Guattari (Deleuze and Guattari, 1987; 1994), such a collaboration bringing theoretical problematic into closer contact with practical concerns and socio-cultural contexts. Deleuze and Guattari conceptualized their philosophical method as Geophilosophy, privileging geography over history and stressing the value of the present-becoming, (...) that is, a possibility for becoming-other in each and every present moment. In this chapter we explore Deleuze's dynamics of becoming-other situated within a larger milieu of informal education in terms of learning from experience as a mode of cultural pedagogy. Deleuze's pedagogy implicit in his philosophy entails the reading of signs, symbols, and symptoms that lay down the dynamical structure of experience. Experience cannot be limited to what is immediately perceived; still, the Deleuzian line of flight or becoming is real even if "we don't see it, because it's the least perceptible of things" (Deleuze, 1995, p. 45). We are affected by experience, and thinking enriched with its affective dimension is always experimental, like a process of trying, testing, and creating. Experience is future-oriented, lengthened and enfolded, representing an experiment with what is new, or coming into being, becoming. (shrink)

In What Is Philosophy?, Deleuze and Guattari attribute to Leibniz and Raymond Ruyer a vitalism of ‘a force that is but does not act’. This is a judicious characterisation of Leibniz's vitalism, but not Ruyer's. In The Fold, Deleuze presents Ruyer as a disciple of Leibniz, but if Leibniz's monads have no doors or windows, Ruyer's are nothing but doors and windows, nothing but liaisons actively forming themselves. For Ruyer, there is only one force, a consciousness-force, matter-form in sustained, non-localisable (...) self-formation. In Deleuze's reading of Leibniz's concept of the vinculum substantiale, Deleuze comes close to presenting a notion of force like that of Ruyer's, in that the vinculum inextricably interfolds monads and bodies, but ultimately the separation of the forces of monads from those of bodies prevails in a fashion incompatible with Ruyer's conception of force. Deleuze and Guattari make use of Ruyer's understanding of consciousness and the brain as the auto-overflight of an absolute surface in their concluding remarks on philosophy and the arts in What Is Philosophy?, but they depart from Ruyer in their characterisation of the relation of force to those two domains, ultimately because they reject Ruyer's advocacy of a universal, goal-directed finalism. (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)

For well over a decade Inna Semetsky has been at the forefront of an effort to introduce the thought of Gilles Deleuze into educational philosophy and theory. In her (2006) book, Deleuze, Education and Becoming, she set forth a sophisticated reading of Deleuze that drew enlightening parallels between his work and that of John Dewey and his Pragmatist predecessors. In Re-Symbolization of the Self (2011), she linked Deleuze to a very different tradition—that of Jungian psychology—and argued for the integration of (...) Jungian archetypal analysis with the hermeneutic practice of reading Tarot cards. Additionally, through a series of editorial projects, she has brought together scholars from a wide range of disciplines in research initiatives that have significantly enriched both Deleuze studies and educational theory. Now, with The Edusemiotics of Images: Essays on the Art–Science of Tarot (2013), Semetsky extends her previous work in provocative ways, integrating a dazzling array of sources .. (shrink)

Michel Tournier's novel Friday is the subject of an important essay of Deleuze's, in which he presents the concept of the ‘a priori Other’. Alice Jardine and Peter Hallward have offered critiques of Deleuze via readings of this essay, but neither takes into consideration the full significance of Tournier's novel or Deleuze's commentary. Jardine and Hallward provide divergent and only partial perspectives on Deleuze. If there are several Deleuzes, each defined by a critical point of view, there is also a (...) single Deleuzian problem that informs the Tournier essay and Deleuze's thought as a whole. (shrink)

In Dialogues, Deleuze contrasts French and Anglo-American literatures, arguing that the French are tied to hierarchies, origins, manifestos and personal disputes, whereas the English and Americans discover a line of flight that escapes hierarchies, and abandons questions of origins, schools and personal alliances, instead discovering a collective process of ongoing invention, without beginning or determinate end. Deleuze especially appreciates American writers, and above all Herman Melville. What ultimately distinguishes American from English literature is its pragmatic, democratic commitment to sympathy and (...) camaraderie on the open road. For Deleuze, the American literary line of flight is toward the West, but this orientation reflects his almost exclusive focus on writers of European origins. If one turns to Chinese-American literature, the questions of a literary geography become more complex. Through an examination of works by Maxine Hong Kingston and Tao Lin, some of these complexities are detailed. (shrink)