Les travaux du Comité public de suivi Le comité a été créé le 12 avril 2016. À cette occasion, il a annoncé le dépôt d’un rapport de suivi à l’occasion du premier anniversaire du dépôt du rapport de la Commission Charbonneau. Dans les derniers mois, le comité s’est penché sur les initiatives répondant aux recommandations de la Commission, en étudiant les informations rendues publiques sur ce sujet. Aidé d’une équipe...

A playful, personal, and profound interview with Gilles Deleuze, covering topics from “Animal” to “Zigzag.” Although Gilles Deleuze never wanted a film to be made about him, he agreed to Claire Parnet's proposal to film a series of conversations in which each letter of the alphabet would evoke a word: From A to Z. These DVDs, elegantly transtlated and subtitled in English, make these conversations available for English-speaking audiences? for the first time. In dialogue with Parnet, the philosopher (...) exhibited the modest and thrilling transparency that his seminal works reveal. The sessions were taped when Deleuze was already terminally ill; he and Parnet agreed that the film would not be shown publicly until after his death. The awareness of mortality floats through the dialogues, making them not just intellectually stimulating but also emotionally engaging. Because Parnet knew Deleuze so well, she was able to draw him out—as no one else had—to what might be the 1001st plateau: a place of brilliance, rigor, and charm. In “A as in Animal,” for example, Deleuze vents his hatred of pets: “A bark,” he declares, “really seems to me the stupidest cry.” Instead, he praises the tick: “... in a nature teeming with life, [the tick] extracts three things”: light, smell, and touch. This, he claims, in a sense is philosophy. “And that is your life's dream?” Parnet wryly asks. “That's what constitutes a world,” he replies. For Deleuze, doing philosophy meant not just creating concepts but living a life in philosophy. Gilles Deleuze from A to Z presents the mind of a great philosopher at work. (shrink)

The following text is not just unpublished. There is something intimate, secret, confidential about it. It consists of a series of notes - classed from A to H - that Gilles Deleuze had entrusted to me in order that I give them to Michel Foucault. It was in 1977. Foucault had just published La Volonté de savoir, the introduction to a Histoire de la Sexualité which challenged the play of categories through which the struggles of sexual liberation reflected itself. (...) The reception of the book, poorly understood, was contemporary with a sort of crisis in Foucault, already wholly bent to the task of bringing out of himself, and converting himself to, what would become the problematic of L'usage de plaisirs and the Souci de soi. Gilles Deleuze, sensitive to what he perceives as a suffering in his friend, thus writes up these notes: therein he gives the account of his convergences and divergences with Foucault. It is not a matter of a critique, even less of a polemic, but of an invitation, entirely imbued with the sincerity of friendship, to take up again a dialogue which had been interrupted. (shrink)

Médecine et philosophie ont connu des périodes marquées par un regain d'intérêt envers l'éclectisme. Dès l'Antiquité fut fondée une école des Éclectiques. Le XVIIIe siècle a vu des philosophes le célébrer et le discuter avec âpreté. Le dernier apogée d'une pensée éclectique a marqué la première moitié du XIXe siècle : l'éclectisme est-il vecteur de progrès ou gardien d'une tradition désuète? En reprenant ces différentes périodes de son histoire, en en repérant les dynamiques et les intersections entre philosophie et médecine, (...) cette étude se propose d'envisager en quoi peut consister une pertinence philosophique et épistémologique de l'éclectisme dans ces deux domaines qui se rejoignent autour d'un même objet central : l'homme."--Page 4 of cover. (shrink)

Excerpt from The Psychological Aspects of Christian Experience Continued observation of the various methods of religious instruction has brought upon me a conviction that grows stronger as the years go by, that there must be, as Francis Peabody says, a new expansion of the range of studies appropri ate to the teachers of religion. There ought to be a far deeper study of the psychology of reli gion. The appeal to the impulses and emotions, so prevalent in the methods of (...) some teachers, is far behind twentieth century enlightenment. It was foreign to the methods of our Saviour. He taught men. He did not frighten them into ao tion, neither entice them. He instructed their minds in truth. Ye shall know the truth and the truth shall make you free. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

An idea has been increasingly gaining currency in Western democracies since the 1950s and '60s, namely the idea of the omnipotence of the media, a power that has become more pronounced as the influence of politics has become steadily weaker. This omnipotence of the media manifests itself, firstly, in the fabrication of individualistic tastes and desires, and secondly in the fragmentation of public space and social relations, if not the explosion of public space and social relations.These are the themes to (...) which I would like to return in the hope of not rewriting the story of Pangloss. I think no one will dispute the idea that the media has played, and continues to play, a crucial role in the dynamics of postmodern individualism. The norm of private happiness, the value of pleasure, and the ideal of intimate fulfilment are diffused throughout mass culture, the press and television. Thanks to the media, the fulfilment of these desires and the love of oneself has become a socially legitimated form of behaviour, an ideal for the masses. In celebrating private pleasures and private happiness, the media have undoubtedly contributed to the decline of tradition, strict moral codes and ideological commitments. Living in the present, living for oneself and in accordance with these desires have become the legitimate norm, and in this sense the media have without a doubt contributed to the culture of individualism.That is not all. Television is known to have played a role in the erosion of social life, in the erosion of certain forms of community life like the neighbourhood, the street, and the café, which had been important areas of social interaction since the nineteenth century. Television has put an end to people going out regularly to bars, cafés or on the streets; everyone goes home in the evening to watch the news or look at a film. The traditional social life of men has largely disappeared, and men spend much more time with their family and in private life. Leisure culture and the media have converged in such a way that privileges pleasures enjoyed in the intimacy of the home.For the same reason, television has caused the attendance of cinema, sporting events and theatre to drop. Television has shattered traditional forms of social and public life in favour of the consumption of images within the home, and this trend will undoubtedly only become more pronounced as the number of familial receivers increases, such as video machines, internet, cable, what one can in short call `fragmented television'.Access to information and images is becoming more and more personalized; there are greater possibilities for everyone to construct his own timetable and to escape from the homogeneity of media programming. From this point of view, the media appear to be as much an instrument for the creation of homogeneous, mass tastes as an instrument of individualization, and the privatization of life. In this context, and despite its obvious shortcomings, McLuhan's famous formula `the medium is the message' seems to me correct. (shrink)

Dans sa prison, condamné à mort, Socrate se coupe de toute préoccupation terrestre pour se concentrer sur la vie de l'esprit. Sans faiblir devant la venue de la mort ni se défaire de son exigence morale, il révèle, dans le dialogue avec ses fidèles, sa force d'âme. Une vie, il s'est préparé à l'issue fatale, s'appliquant à purifier l'idée de la mort par la pensée en elle-même, cherchant une forme de sérénité dans ce compagnonnage. Aussi la conçoit-il comme une nécessité (...) inévitable qu'il faut aborder par la raison, sans la redouter ni même s'élever contre son injustice. Mais il est également porté par un élan spirituel qui repose sur la croyance dans l'éternité de l'âme, une belle espérance : mener une existence future auprès des dieux, ces maîtres sages et bons. Lorsqu'il livre ainsi son coeur, Socrate veut rassurer les siens, les consoler de sa disparition. Surtout, en révélant ce qui guide son esprit de la façon la plus digne qui soit, il solidifie ses principes. S'il se montre plein de piété, il reste ce maître à penser, soucieux avant tout de connaître la nature de la vertu pour mieux en parler et la donner en exemple jusqu'à la fin. (shrink)

La recherche actuelle se trouve dans l'incapacité d'expliquer l'émergence de la conscience à partir du cerveau, ainsi que son efficience sur celui-ci et, par son intermédiaire, sur le corps. La faute en incombe au dualisme des substances qui constitue encore l'horizon de la science actuelle, lequel dualisme ouvre un abîme infranchissable entre la matière et l'esprit. Il convient donc de repenser les rapports de la conscience et du corps, et ce à partir de la vie qui les conjoint. Cet ouvrage (...) défend l'idée qu'une entité matérielle organisée afin de se conserver elle-même est inévitablement intéressée à sa propre conservation: pas de vie sans désir de vivre, par suite sans un sentiment de vivre qui est la vie même. La vie ne se réduit pas à sa dimension matérielle, 'machinique'. Il n'est évidemment pas question de recevoir un tel énoncé comme un dogme. L'objectif de ce livre est de l'établir rationnellement, en essayant par ailleurs de montrer comment la conscience peut surgir de la subjectivité primitive, inconsciente, qu'il faut reconnaître à tout être vivant."--Page 4 of cover. (shrink)

Le kitsch n'est plus ce qu'il était. De style décrié, dévolu à un univers décoratif marqué par le manque de goût, il s'est métamorphosé en néokitsch 'branché', systémique et planétaire. Il était associé à la décoration intérieure bourgeoise, aux bimbeloteries, aux images sulpiciennes: le voici qui s'infiltre dans les urbanismes pastiches gigantesques, les mégacentres commerciaux, les parcs de loisirs, les défilés de mode, le showbiz, les soaps télévisés, le design, la communication virtuelle sur les réseaux. Désormais proliférant, démesuré, envahissant de (...) plus en plus de secteurs, un nouveau cosmos kitsch s'affirme, qui dépasse de beaucoup la sphère des propriétés formelles des choses et des images tant il contribue à dessiner une forme de civilisation la civilisation du 'trop.' Ajoutant le trop au trop, l'hyperkitsch consumériste a pris le relais du kitsch bourgeois et romantique. Il est devenu l'expression même de la civilisation mondialisée de la surconsommation, du spectacle et des simulacres. C'est cette formidable mutation historique que les deux auteurs analysent afin de porter sur le kitsch un jugement raisonné. Si les critiques sont nécessaires et même impératives face aux débordements du 'trop', reste en effet à savoir jusqu'où. Une société sans kitsch est-elle souhaitable? C'est loin d'être sûr. Le kitsch n'est pas chose à brûler mais à penser"--Page 4 of cover. (shrink)

Cher Monsieur, Pour éclairer mon intention première, permettez-moi de vous exposer tout d'abord les raisons de mon intérêt pour le temps, puis celles qui me font penser que le modèle que nous développons pourrait apporter des éclairages à cette question du rythme. Je fais partie depuis peu d'un réseau de consultants Espace/Temps, doté d'un observatoire du temps, et qui souhaite développer les réponses que ses membres peuvent faire auprès des entreprises et partenaires sociaux sur la question du temps. - Rythmes (...) des corps. (shrink)

Cher Monsieur, Pour éclairer mon intention première, permettez-moi de vous exposer tout d'abord les raisons de mon intérêt pour le temps, puis celles qui me font penser que le modèle que nous développons pourrait apporter des éclairages à cette question du rythme. Je fais partie depuis peu d'un réseau de consultants Espace/Temps, doté d'un observatoire du temps, et qui souhaite développer les réponses que ses membres peuvent faire auprès des entreprises et partenaires sociaux sur la question du temps. - Rythmes (...) des corps – Nouvel article. (shrink)

Ce recit de la vie d'Aristote montre assez bien que, même s'il est connu comme un des plus grands philosophes de tous les temps, il etait un veritable homme de science, au sens moderne du mot, un penseur, chercheur et professeur. Sous forme d'autobiographie, le present recit nous rappelle du même souffle, grâce à des reperes historiques bien definis, tout ce que nous devons à la culture grecque : l'academie, l'ethique, les sculptures d'Aphrodite, le theâtre, les sciences, sans oublier les (...) bases servant à l'etude de nos systemes politiques. Vingt-quatre siecles avant nous, Aristote s'etonnait dejà de tout. Ami du conquerant Philippe de Macedoine, il a ete un professeur d'Alexandre dit Le Grand et il connaissait de pres Demosthene, que l'on donne lui aussi, avec le Romain Ciceron, comme l'un des deux plus grands orateurs de l'Antiquite. Cette biographie s'en tient strictement à des faits verifiables anterieurs à l'annee 322 avant notre ere, date de la mort d'Aristote. L'auteur, qui utilise un vocabulaire aussi pres que possible de sa source, ne pose aucun jugement sur sa personnalite ou sur ses oeuvres. Mais le portrait qui se degage de cette vie fera consensus : Aristote etait heureux. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 554-555 [Access article in PDF] Nicholas White. Individual and Conflict in Greek Ethics.New York: Oxford University Press, Clarendon Press, 2002. Pp. xv + 369. Cloth, $55.00. This is a thoughtful book on an interesting subject by a well-known scholar of ancient ethical philosophy. However, the organization and mode of exposition is, in some ways, rather odd; and this rather muffles the (...) potential depth and impact.White challenges (what he presents as) a widespread current view about Greek ethical philosophy. This is that Greek philosophy does not contain the same kinds of moral conflict that we find in modern thought: namely, between the claims of the individual and the state, and between doing your duty, or what is best for others, and pursuing your own happiness. White, by contrast, believes that those conflicts do figure—as substantive, problematic issues—in Greek thought, and that they are conceived in a way that is broadly similar to modern thought, despite some other salient differences. Further, White maintains that the general denial of conflict in Greek thought has its roots in certain eighteenth- and nineteenth-century intellectual tendencies. A crucial factor was the Hegelian picture of Classical Greek thought as free from the conflicts between individual and state, and between happiness and duty that are central in modern thought and are articulated especially by Kant. White sees the Hegelian view as influential on late nineteenth-century readings of Greek philosophy by thinkers such as Sidgwick, on more recent anti-Kantian thinkers such as Alasdair MacIntyre and Bernard Williams, as well as on much current scholarship on Greek philosophy.White confronts what he sees as a mistaken tendency partly by charting its historical roots and partly by offering a competing (or at least "ground-clearing" [xiii]) reading of key relevant features of Greek ethics. Two crucial topics are Plato's presentation of the demand that the fully trained philosopher-rulers go back into the cave to direct the state rather than philosophizing, as they would prefer (Republic 219-21) and Aristotle's selection [End Page 554] of the philosophical life, rather than the ethical life of practical action, as the highest form of human happiness (Nicomachean Ethics10.7-8). White argues, first, that these are recognized as substantive and difficult issues by the two Greek thinkers and, second, that the way in which the issues are conceived is (roughly) in terms of the modern-style contrast between doing your communal duty and pursuing your personal happiness. The "eudaimonistic" (happiness-centered) outlook often seen as typical of Greek philosophy does not mean that these issues are therefore defused or resolved. Hellenistic (Epicurean and Stoic) philosophy does offer a unified ethical outlook, but not in a way that matches the Hegelian pattern. The influential Hegelian reading of Greek ethics is shown up as mistaken and the door is opened for interpretations which recognize and analyse these issues in more accurate terms.White's central claims are challenging, important and, in principle at least, plausible. How effectively is the case made? As indicated earlier, the organization of the book does not seem to me to support the argument as well as it could. The discussion of Plato and Aristotle, which forms the core of White's thesis, is preceded by an extended preparation, extending to nearly half of the book. This examines, in meticulous detail, the background in modern intellectual history to the tendency that White attacks. It also explores in general terms conceptual issues (about deliberative conflict, the role of imperatives and the city-state as a source of normativity) that bear on his claims about Greek thought. When White finally gets to detailed discussion of philosophical texts, he does not—surprisingly—try to show in specific ways how current leading scholarly interpretations are informed by the Hegelian pattern he has so elaborately described. His confrontation with the modern version of this pattern is generalized, with references to scholarly readings largely confined to footnotes. The thrust of his interpretative discussion is negative, ruling out the harmonizing, Hegelian... (shrink)

La musique témoigne d'une sensualité fondatrice, où la peau émue a ouvert la construction du corps et de la psyché. Cette sensualité, ici suivie à partir du mythe de Pan, prend pour nom Éros. Or, celui-ci a plusieurs visages. Déjà, dans Le Banquet, Pausanias distingue l'Éros "céleste" de celui "vulgaire". Le premier s'adresse à l'âme et aux Idées, en portant un désir alimenté par les formes culturelles propres aux arts libéraux. Le second signifie l'abandon charnel à la transe et à (...) la jouissance. Si le conflit entre Apollon et Dionysos se retrouve alors, Éros révèle aussi un troisième visage, plus primordial que les deux autres et nécessaire à leur opposition. Ces trois visages définissent chacun une esthétique musicale, tout en interrogeant l'élaboration corporelle et symbolique du sujet. Que ce soit dans un cadre éducatif ou thérapeutique, ou dans le contexte de la société postmoderne qui n'a retenu que le seul visage dionysiaque, ces trois Éros se meuvent selon un équilibre tendu, où se donne le sens même de l'humanisation. Ce sens, la musique ne cesse de le chanter, dès que la voix maternelle vient envelopper le nourrisson."--Page 4 of cover. (shrink)

En este artículo reúno los resultados de una serie de estudios sobre el trabajo en los empleos vinculados con las nuevas tecnologías (incluyendo mi propia investigación en el Reino Unido, los Estados Unidos y los Países Bajos), para explorar lo que significa gestionar las vidas en estos nuevos medios. Utilizo aquí la gestión no en su sentido convencional o de escuela de negocios, sino con una inflexión más crítica que proviene del pensamiento marxista, feminista y posestructuralista. Me interesa cómo los (...) propios trabajadores y trabajadoras gestionan vidas, una gestión que se caracteriza por procesos de aceleración, intensificación y contingencia. Usando una óptica foucaultiana, sugiero que trabajar en estos nuevos medios implica múltiples prácticas de autogestión en condiciones de incertidumbre radical.In this article I pull together the findings of a number of studies of new media work (including my own research in the UK, US and Netherlands) to explore what it means to manage lives in new media. I use management here not in its conventional or business school sense but with a more critical inflection that comes from Marxist, feminist and poststructuralist thinking. I am interested in how workers themselves manage lives that are characterised by processes of speeding up, intensification and contingency. Using a Foucauldian optic, I will suggest that working in new media involves multiple practices of managing the self in conditions of radical uncertainty. (shrink)

Les Theoremata d'esse et essentia (ca 1278-1285), qui, en depit d'une edition critique deja ancienne (Hocedez, 1930), n'avaient pas encore ete traduits integralement en francais a ce jour, apparaissent comme l'uvre majeure pour bien saisir la genese doctrinale et conceptuelle de la theorie de la distinction reelle. Peu de temps avant les Questions disputees sur l'etre et l'essence (1286-1287), qui sont au cur du debat entre Gilles de Rome (ca 1245-1316), partisan d'une distinction reelle entre l'etre et l'essence, et (...) Henri de Gand (ca 1217-1293), promoteur d'une theorie de la distinction " intentionnelle ", les Theoremes apparaissent comme un essai de synthese, dans lequel le maitre augustin donne un expose d'ensemble des arguments qui le conduisent a faire de l'etre une res (" chose " au sens de " realite ") a part entiere. Dans ces conditions, les disciples de Thomas d'Aquin (ca 1224-1274) n'ont pas manque de voir, en Gilles, l'un des partisans d'une these qu'ils revendiquaient comme un heritage de l'Aquinate. Les Theoremes revelent cependant une pensee incontestablement personnelle, et manifestent le caractere resolument original de Gilles de Rome, metaphysicien incontournable du XIIIe siecle finissant. (shrink)

Although Gilles Deleuze never wanted a film to be made about him, he agreed to Claire Parnet's proposal to film a series of conversations in which each letter of the alphabet would evoke a word: From A to Z. These DVDs, elegantly transtlated and subtitled in English, make these conversations available for English-speaking audiences? for the first time.In dialogue with Parnet, the philosopher exhibited the modest and thrilling transparency that his seminal works reveal. The sessions were taped when Deleuze (...) was already terminally ill; he and Parnet agreed that the film would not be shown publicly until after his death. The awareness of mortality floats through the dialogues, making them not just intellectually stimulating but also emotionally engaging. Because Parnet knew Deleuze so well, she was able to draw him out--as no one else had--to what might be the 1001st plateau: a place of brilliance, rigor, and charm.In "A as in Animal," for example, Deleuze vents his hatred of pets: "A bark," he declares, "really seems to me the stupidest cry." Instead, he praises the tick: "... in a nature teeming with life, [the tick] extracts three things": light, smell, and touch. This, he claims, in a sense is philosophy. "And that is your life's dream?" Parnet wryly asks. "That's what constitutes a world," he replies. For Deleuze, doing philosophy meant not just creating concepts but living a life in philosophy. Gilles Deleuze from A to Z presents the mind of a great philosopher at work. (shrink)

L’interprétation de la philosophie de Gilles Deleuze comme «projet de rédemption» fait de lui un candidat propre à une évaluation théologique. Afin de révéler l’importance potentielle de Deleuze pour la théologie, je me concentre d’abord sur les caractéristiques mêmes de ce projet de rédemption. Dans la deuxième partie de cet article, je confronte les idées de Deleuze à la théologie de la libération. Est-ce que sa vision politique est assez forte pour pouvoir supporter une théologie de la libération ou (...) offre-t-il plutôt une «ontologie pour le bouddhiste occidental»? Je conclurai que la pensée de Deleuze tend vers cette deuxième option. (shrink)

En la bibliografía más reciente en torno a la obra filosófica de Deleuze no se ha abordado la relación entre una idea de educación y su libro _Diferencia y repetición_. Este artículo explora e interpreta a partir de la ontología de Deleuze una idea de formación. Parte de la comprensión de sus ideas de «diferencia y repetición” y del “método de dramatización” me permiten pensar cómo estas se inscriben en el terreno educativo, cuáles son sus alcances y consecuencias, ideas que (...) me llevan, por lo demás, a retomar los temas de la emancipación intelectual y la igualdad de la mano de Joseph Jacotot y Jacques Rancière. (shrink)

Resumen Propongo interpretar la inversión de Deleuze del platonismo como la creación de conceptos nuevos a partir de elementos teóricos tomados de la filosofía del propio Platón. En primer lugar, consideraré el origen nietzscheano de la inversión y su interpretación heideggeriana, de la cual, creo, Deleuze se vale para ciertos argumentos. En segundo lugar, me basaré en la hipótesis de Francis Wolff e Isabelle Ginoux de que la filosofía platónica tiene un carácter ambiguo en la obra deleuziana para analizar esa (...) ambigüedad en términos de la pregunta por los elementos positivos que Deleuze rescata para la creación de una nueva imagen del pensamiento.I propose to interpret the deleuzian reversal of Platonism as the creation of new concepts from the same elements the French philosopher extracts from Plato’s thought. To justify this I will first examine the nietzschean origins of the reversal as well as Heidegger’s interpretation of it, which I think inspires Deleuze. Then, based on the works of Francis Wolff and Isabelle Ginoux, I will explore the ambiguity of Plato’s role in Deleuze’s philosophy, especially in those elements he recovers and exploits to build a new image of thought. (shrink)

This essay uses the work of Gilles Deleuze, in some detail, to argue for a new practice of criticism. Not in order to purify, refine, or generally redeem anything, but rather to encourage a focusing upon the production of fields of experience as an ethical event. As such, the piece re-problematizes what it means to raise questions, and demonstrates the underlying responsibility of doing so.

Ce dictionnaire propose de réunir des portraits de brutes et de mégères dans le but de s'interroger sur les causes et les raisons de cette perception négative. Pourquoi certaines figures évoquent-elles la méchanceté? Que peut nous dire cette méchanceté dénoncée de nous-mêmes et de l'époque qui l'a engendrée? Il s'agira de retracer les portraits de ceux et celles ayant marqué l'Histoire et la fiction par leur cruauté, leur perfidie, leur machiavélisme, leur art de la dissimulation ou de la manipulation. S'attarder (...) sur la méchanceté et ses possibles, décliner les façons de la penser et de la vivre, de la subir ou de l'exercer, c'est s'intéresser à une facette peu valorisée de la sensibilité d'autant plus importante que chaque individu, de près ou de loin, est amené, un jour, à se montrer méchant. La méchanceté et ses manifestations, qu'elles soient conceptuelles ou biographiques, nous invitent donc à une introspection globale, à une immersion dans les affres de la noirceur des âmes dont la bouche n'est autre que celle de la méchanceté Le champ de cette entreprise est vaste et recouvre notamment : La Malice, le Machiavélisme, Orangina Rouge, Barbe Bleue, le cinéma d'Alfred Hitchcock, Marie-Antoinette, la Mauvaise conscience, Gilles de Rais, Harry Powell (La nuit du chasseur) Salomé-Hérodiade, Dracula, Tatie Danielle, Marie Tudor, la Perversité, la Mégère Grecque, Dark Vador, Mildred Ratched (Vol au-dessus d'un nid de coucou)... (shrink)

This article reads a selection of films by Todd Haynes - Superstar: The Karen Carpenter Story (1987), Velvet Goldmine (1998) and I'm Not There (2007) - through the post-structuralist lens of Deleuzian theorising about the self as a networked singularity rather than an essential subject. The overall aim of the piece is to consider Haynes' films as artefacts that require the participatory audience to be involved in their making. Gilles Deleuze and Felix Guattari's concept of the schizo is addressed (...) to investigate how a schizo consciousness can be opened by the Event of viewing art that uses incommensurable extremes of meta-textual referentiality. Further to this productive opening, I examine how such post-structuralist ontology can necessitate ethical concern. I conclude that Todd Haynes' film-making is specifically schizoanalytical in that it opens instances wherein the non-essential non-subject can encounter the vertigo of falling away from representation. I contend that this experience and the post-structuralist world view conveyed through it, is radically ethical because it resists the annihilation of possibility that is inherent to essentialism. (shrink)

Listening, seeing and reading Gilles Deleuze has had an influence on my thinking more than most of the economic writings I have consulted over the past quarter of a century. This discovery and furtherance of knowledge enriched my reflection and also allowed me to go beyond the general philosopher, as a philosopher opening the way to new horizons. It makes the researcher aware that the most important thing is not the philosopher man but the man philosopher, i.e. the one (...) who writes something that touches a human being at his deepest level and concerns him in his life every day. New generations of economists should meditate on this by going beyond the chapel quarrels coming from the Schumpeterian dichotomy 'science versus ideology'. To quote one of Deleuze's main ideas, no thinking against anything has been important over a long period; what counts are thoughts for something new that affect people's lives, and which are produced with rigor. This opens the way to a thought for life and not against life, which is in line with the progress of research in methodology, where it is a question of giving more importance to social ontology as a level of analysis and not focusing solely on epistemology in the narrowest sense. (shrink)

But first, let me note that these two are terms derived more or less directly from the collaborative work of the French philosophers Gilles Deleuze and Félix Guattari. Now I think it’s important that analytic and continental philosophers learn to talk to each other, and I’m convinced that Deleuze and Guattari’s work, when properly explained, provides a common ground for this discussion. That’s because they provide the ontology and epistemology for a world that is able to yield the results (...) we find in using nonlinear dynamical modeling, as is common practice in quite a few scientific fields today, among them some of special interest to philosophers, such as brain studies. (Varela et al., “The Brain Web” Nature Reviews. Neuroscience 2001 is a review article covering one hundred or so studies of the 1990s that used non-linear dynamics for modeling brain function.). (shrink)

Miroir, miroir de mes désirsAu seuil de la réversibilité, la libido ardente des imagesEn parcourant les perspectives de Lacan, Merleau-Ponty et Deleuze, je me propose de montrer comment l’image – une image dont le rôle, depuis Platon, a été réduit par la métaphysique occidentale à celui de simple copie – rend possible une pensée nouvelle non dualiste, une pensée ouverte par le désir, c’est-à-dire par ce qui dépasse tout dualisme simpliste et qui trouve dans l’image sa voie privilégiée.L’image du miroir (...) – considérée par le platonisme comme le simulacre par excellence, comme l’emblème de la copie déformante et trompeuse d’un modèle originaire harmonieux – donne à voir bien plus qu’elle ne nous montre : comme Lacan le remarquait dans son célèbre essai de 1949, devant le miroir, nous nous découvrons, comme les enfants, sujets du monde, mais aussi, inévitablement, sujets au monde. Le «je» – dont nous sommes in-formés par l’image du miroir – s’abîme, par cette même image, dans les l’inquiétante étrangété de l’autre, et par suite dans les gorges insondables de son désir. Si l’image du miroir nous permet d’embrasser la totalité de notre corps et d’apprécier en un regard notre statut de sujet, ce regard nous est toutefois restitué – aveugle et insistant – sous la forme d’un objet partiel qui nous interpelle comme sujets désubjectivés, comme sujets castrés, ou encore comme simples « taches » dans lapeinture du monde. L’image fixée par l’enfant dans le miroir fonde, paradoxalement, l’idée traditionnelle du sujet comme pôle dynamique de la relation je-monde. Comme le remarque Slavoj Žižek, en commentant Lacan, la capacité dynamique du sujet se fonde en somme sur une fixation excessive de l’image du sujet lui-même, fixation qui trouve son origine absente dans le regard entendu comme objet a, c’est-à-dire comme point aveugle de la conscience, lieu d’acquisition et de perte qui, par la castration du sujet, ouvre la plaie libidineuse et pulsionnelle de l’inconscient et renverse par là le désir de l’homme en désir de l’autre, comme le rappelle une célèbre formule de Lacan.Longtemps considérées comme porteuses d’illusions, comme l’illusion en tant que telle, les images nous montrent en fait la vérité de cette illusion : le monde est déformation et réversibilité, et nous-mêmes, prétendus sujets faisant face à son tableau inerte, n’en sommes que des taches. Au cours des mêmes années durant lesquelles Lacan élabore une théorie du regard, Merleau-Ponty, son interlocuteur direct – qui se réfère lui aussi au comportement de l’enfant devant le miroir – réfléchit sur la question du « en-être », c’est-à-dire de la réversibilité de la chair, ce tissu de différences qui nous constitue – les animaux et les choses – comme autant de plis d’un horizon commun. Pour Merleau-Ponty comme pour Lacan, dans une telle perspective, le sujet ne se défi nit pas positivement, mais comme écart par rapport à lui-même, comme coupure dans la peau de la conscience, comme plaie ouverte sur l’inconscient et sur le désir qui en jaillit abondamment. Ainsi, voir dans le miroir que, comme disait le poète, « je est un autre », implique que l’image soit libérée de son statut dévalorisant de « seconde chose » hérité du platonisme. Cela inaugure, en fait, une pensée sans dualisme. Gilles Deleuze travaillera lui aussi dans ce sens, lorsqu’il théorisera un renversement du platonisme à partir des images, dans son essai de 1966 Renverser le platonisme.Historiquement, le commencement de la philosophie a coïncidé avec la recherche d’une origine, d’une archè. Mais un monde où les relations nées du désir tracent des itinéraires imprévisibles, où le je et l’autre ne se distinguent plus, où sujet et objet ne connaissent plus de frontière, où la copie cesse de présupposer le modèle, un monde ainsi fait, a-t-il encore une origine accessible? Confronté à cette question essentielle, Merleau-Ponty théorisera – une fois encore à partir de la vision –, au lieu d’une origine en soi préétablie, un originaire en perpétuelle explosion. De son côté, Deleuze élaborera quelque chose d’analogue, à partir de la réflexion sur le cinéma qui l’occupera dans les années 1980 : il « encapsulera » les extases temporelles dans une image-miroir, une concrétion cristalline à plusieurs facettes où le monde se différencie sans cesse, dans un éternel retour.Mirror, Mirror of my DesiresOn the Threshold of Reversibility, the libidic Passion of ImagesIn a journey through the perspectives of Lacan, Merleau-Ponty and Deleuze, I shall show how images – the images that from Plato on have been relegated by Western metaphysics to the role of mere copies – allow us to trace the direction of a new and non-dualistic thought, a direction opened up by desire, that is to say, by something exceeding any simplistic dualism and fi nding precisely in images its privileged channel.The specular image – conceived by Platonism as the simulacrum par excellence, as the emblem of the deforming, deceiving copy of a harmonious preliminarymodel – makes us see more than it actually shows: as Lacan remarked in a renowned essay published in 1949, since childhood, in front of the mirror, we discover ourselves as subjects of the world, but also – and inevitably – as subjected to the world. The ego – of which we are in-formed by the specular image – is turned, through that very image, into the obscure, uncanny chasm of the other, and, consequently, in the unfathomable vortex of the other’s desire. Indeed, if in the mirror we can embrace the whole of our body and catch with a single gaze its status of subject, by the mirror that very gaze is however returned – blind and insistent – as a partial object summoning us as desubjectivized subjects, as castrated subjects, namely, as mere “stains” in the picture of the world. Quite paradoxically, the image fixed by the child in the mirror founds the traditional idea of the subject conceived as the dinamic pole of the relation between the ego and the world. In short, as Slavoj Žižek remarks commenting on Lacan, the dinamic capability of the subject is grounded on an excessive fixation of the image of the subject itself, fixation which finds its absent origin in the gaze meant as object a, namely, meant as that blind point of consciousness, that point of acquisition and loss which, by castrating the subject, opens the acies of the libidically throbbing wound of the unconscious and turns, to borrow a renowed Lacanian expression, man’s desire into the other’s desire.For long considered to herald illusions, images show us the truth of illusion itself: the world is deformation and reversibility and we – presumed subjects in front of its inert picture – are, on the contrary, its “stains.” In the same years in which Lacan was elaborating a theory of gaze, Merleau-Ponty, who was then a direct interlocutor of his, was articulating – by referring, as Lacan did, to the child’s behaviour in front of the mirror – a series of important reflections over the problem of the en-être, that is to say, over the problem of the reversibility of flesh, i. e., that differential fabric constituting us – animals and things – as variegated gatherings of a common horizon. For Merleau-Ponty, as well as for Lacan, according to such a perspective, the subject, far from being defined in a positive way, is defined by a gap in relation with its own self, that is to say, by a cut in the skin of consciousness, by a wound opening to the unconscious and to the desire spurting abundantly from the subconscious.To see in the mirror that, as the poet said, “I am an Other,” is to free images from the status of “second things” with which Platonism had dismissed them; it is, in other words, to inaugurate a non-dualistic thought. For his part, Deleuze will also engage in the same direction by theorizing a reversing of Platonism from the very standpoint of images in his 1966 essay Renverser le platonisme.The beginning of philosophy has historically matched with the search for an origin, namely, an arké. But in a world in which the relations inaugurated by desire trace unpredictable itineraries, in a world in which the ego and the other can no longer be distinguished, in a world in which the subject and the object know no more boundary lines, in a world in which model and copy cease to exist as the presupposition of one another, in such a world, I said, is it still possible to find an origin? By measuring himself with such a crucial question, Merleau-Ponty will theorize – once again from the standpoint of vision – an “originating in perennial explosion” instead of a narrow, pregiven origin. For his part, Deleuze will elaborate something similar in his reflection on cinema, which will keep him busy in the first half of the eighties, by capsulating the temporal dimensions in a mirror-image, i. e., a crystalline concretion in whose facets the world perennially becomes in an eternal differential return. (shrink)

This paper draws upon Deleuze and Guattari's ideas to suggest a different kind of reading of a narrative of a mother of a child with severe disability, and thus a different kind of ethical response to them. This reading gives readers the possibility of opening up experiences of parents and children with disability, rather than compartmentalising such stories. The reader becomes, is transformed, through reading these narratives and through engaging with the intensities which are recognised in the text, asking the (...) question ‘Does it work for me?’ This is what Gilles Deleuze calls ‘reading with love’. (shrink)

"Pop'philosophie" : si l'on en croit la morgue méprisante que ce simple mot provoque, il s'agirait du nom d'une étrange maladie. Celle d'une philosophie se prostituant aux industries culturelles ou, pire, aux sirènes du populisme. Avec la pop' philosophie, on assisterait à la ruine de la philosophie tout court, devenue tantôt gadget pédagogique, tantôt tentative pathétique de capitaliser sur le glamour frelaté de la pop culture. Et si c'était faux? Pour Gilles Deleuze, en tout cas, rien n'était plus important (...) que l'invention d'une pop'philosophie qui sauverait la pensée de la correction professorale et de la pontification esthétique. Inventer une pensée véritablement anarchiste, enterrant la philosophie pour l'ouvrir à des devenirs inédits : tel était l'objectif qu'il donna au concept de pop'philosophie. Rien n'était moins simple ni plus ambitieux. Il est temps de comprendre en quoi."--Page 4 of cover. (shrink)

It was his mother's death which allowed [Roland] Barthes to write: "I looked through…" "To write on something is to forfeit it," Barthes used to say, reciprocally, it is licit to write on what is already dead, it was Barthes himself in one of his acceptations. His mother was for Barthes the internal order, who permitted both the external other and the I to exist. Once she was dead, his life was over and could therefore become the object of writing. (...) Barthes no doubt had other books to write; but he no longer had any life to live. I find it emblematic that his last book should have been "on photography" . Eloquent or discreet, a photograph never says anything but: I was there; it leads to a gesture of monstration, to a silent deixis, and symbolizes a pre- or post-discursive world; it makes me an object, that is, a dead man. What Barthes himself calls "my last investigation" also concerned death. Tzvetan Todorov, of the Centre National de la Recherche Scientifique in Paris, has numerous books on literary theory, including Théories du symbole and Symbolisme et interprétation, which has been published in English. His previous contribution to Crtitical Inquiry, "The Verbal Age," appeared in the Winter 1977 issue. Richard Howard, a poet and critic, has translated many works by Roland Barthes, Tzvetan Todorov, Michel Foucault, and Gilles Deleuze. (shrink)

I am grateful to the editors of the Canadian Journal of Philosophy for inviting me to write a comment on Kathleen Gill’s ‘On the Metaphysical Distinction Between Processes and Events’. I readily concede that she is right in the central criticism she makes of my 1978 paper: that a properly metaphysical or ontological distinction between processes and events, if it is to be made at all, cannot be sustained on the basis of the informal linguistic criteria I offered in ‘Events, (...) Processes, and States.’ My main concern in that paper was to show that discussions of the Kenny-Vendler typology of activities, performances, and states had focused too narrowly on verb types, on adverbial phrases, on the domain of human action, and on English-language intuitions. Mine was one of several voices urging in the late 1970s that issues of tense logic and of the logic of verb types had to be placed in the broader context of verb aspect — a salient and pervasive structure in natural languages generally, and one that had been studied by philologists and linguists since the nineteenth century. Captivated, as I and others had become at the time, by evidence that the distinction between count nouns and mass nouns appears to be mirrored in verb predications, I went on to make some rather venturesome ‘ontological’ claims. It is satisfying, of course, that Gill accepts not only that there is ‘substantial evidence in favor of recognizing a grammatical distinction between the language of processes and [the language of] events’ but also that ‘similarities with count and mass expressions will allow us to apply techniques for han dling nominal expressions to verbal expressions’. It is more than satisfying that the phenomenon of verb aspect is now noticed and investigated by philosophers as well as by linguists. (shrink)

Magritte et les philosophes, written by a Belgian semiotician, puts in dialogue some paintings by René Magritte with some thoughts of Kant, Hegel, Nietzsche, Wittgenstein, Sartre, Foucault, and, in a chapter on La condition humaine, even Plato. Painted in 1933, La condition humaine represents a garden as seen from a salon, but in the room there is already a painting on an easel that represents the same garden. Because the second-order painting (the painting in the painting) is placed in front (...) of the window, we cannot see the full garden of the first-order painting. In it we see only the bottom of a hill and a part of a hedge, but in the second-order painting we see, in perfect continuity, the rest of the hill and the hedge. Thus we are inclined to think that the second-order painting covers exactly the reality it reproduces from the first-order painting and that, if we removed the second-order painting, we would see the same garden with a tree in the middle—a tree that for the moment we see only in the second-order painting.Therefore, some perceive in La condition humaine (and also in a similar painting, La belle captive) a parable of the transparency of painting. Opposing this position, Badir claims instead that “the pictures that are represented [that is, the second-order pictures] seem transparent; they give the sensation of transparency,... but their nature is totally different, and the painted landscapes in the [second-order] painting cannot make the representation [of the first-order painting] disappear.” We cannot superpose the painting over the reality to see whether the strokes of the painting cover exactly the lines of reality, since, if we do so, the painting gets between us and the garden. Still, we as observers cannot help but think that the second-order painting reproduces the reality behind it. But from where does that irresistible intuition come? Not from the resemblance between the picture and what it represents (since we know nothing about what is hidden by the picture), but from the continuity of the brushstrokes in the second-order painting and the lines of reality in the first-order picture.As in Plato's cave, in Magritte's room we have access to a semblance of reality, but in contrast to Plato, who regarded those shadows as pale imitations, Magritte offers us what may be a method of connecting semblance to reality less invidiously. The relation between the second-order picture and the first-order picture, between painting and reality, is not primarily a relation of analogy, since the analogy between the two orders is insinuated by other, nonanalogical relations—those of continuity and proximity between the brushstrokes of the painting and the lines of the garden. Even if Gilles Deleuze is not mentioned in Badir's book, this option seems to me to capture the gist of his critique of Platonism. When we are inclined to see a relation of analogy, Deleuze, like Magritte, wants us to pay attention to other, more diverse and more creative relations: nonanalogical relations that in some cases induce the sensation of resemblance.The title of Badir's book is Magritte and Philosophers, but it could just as well have been Magritte as Philosopher, because the classical philosophers he deals with play only a minor role as possible interlocutors for the painter. Magritte's thinking, as developed in his artwork, constitutes the main subject of this study. We learn while reading this book that painting can be a powerful tool for developing complex concepts and not merely percepts. Its argument may indeed be a critique of Deleuze's too-categorical distinction between the percepts proper to art and the concepts developed by philosophers. (shrink)

Introduction Cholbi, Michael (et al.) Pages 1-10 -/- Assisted Dying and the Proper Role of Patient Autonomy Bullock, Emma C. Pages 11-25 -/- Preventing Assistance to Die: Assessing Indirect Paternalism Regarding Voluntary Active Euthanasia and Assisted Suicide Schramme, Thomas Pages 27-40 -/- Autonomy, Interests, Justice and Active Medical Euthanasia Savulescu, Julian Pages 41-58 -/- Mental Illness, Lack of Autonomy, and Physician-Assisted Death Varelius, Jukka Pages 59-77 -/- Euthanasia for Mental Suffering Raus, Kasper (et al.) Pages 79-96 -/- Assisted Dying for (...) Individuals with Dementia: Challenges for Translating Ethical Positions into Law Downie, Jocelyn (et al.) Pages 97-123 -/- Clinical Ethics Consultation and Physician Assisted Suicide Adams, David M. Pages 125-147 -/- License to Kill: A New Model for Excusing Medically Assisted Dying? Huxtable, Richard (et al.) Pages 149-168 -/- Medically Enabled Suicides Cholbi, Michael Pages 169-184 -/- Saving Lives with Assisted Suicide and Euthanasia: Organ Donation After Assisted Dying Shaw, David M. Pages 185-192 -/- Implanted Medical Devices and End-of-Life Decisions Gill, Michael B. Pages 193-215 -/- Everyday Attitudes About Euthanasia and the Slippery Slope Argument Feltz, Adam Pages 217-237 -/- “You Got Me Into This…”: Procreative Responsibility and Its Implications for Suicide and Euthanasia Weinberg, Rivka Pages 239-252 . (shrink)

Oratorical practice may be viewed as the material enactment of a philosophy of class struggle. Drawing on the work of Gilles Deleuze and Félix Guattari, I propose “orator-machine” as a concept-term to describe speech making in the context of the open exterior of interconnected human and nonhuman machinic assemblages in capitalist modernity. My argument is based on a reconsideration of a single address, delivered by William D. “Big Bill” Haywood in 1911 at the Cooper Union in New York City. (...) Reading Haywood against the grain—as a conceptual innovator—allows me to demonstrate a mode of analysis that affirms the philosophical quality and ontological politics of oratorical performance. (shrink)

Analyse de l'herméneutique du mouvement, ainsi que de son imprégnation dans la philosophie occidentale moderne, notamment en utilisant les figures centrales de Bachelard et de Merleau-Ponty. Les contributions tentent de mettre au jour les rapports qu'entretiennent imagination et mouvement, images dynamiques et schèmes moteurs.

L'empirisme transcendantal élaboré par Gilles Deleuze n'est pas le fruit du hasard : il résulte de lectures critiques et d'un véritable remaniement de concepts, notamment dans ses monographies des années cinquante et soixante. Or on lit généralement les œuvres de maturité de Deleuze sans trop s'attarder sur ces premiers écrits. De même, la question de la subjectivité dans son œuvre est souvent laissée au second plan, et l'on constate dans la littérature secondaire des opinions diamétralement opposées quant au statut (...) du sujet chez Deleuze. Le présent ouvrage reconstruit la notion deleuzienne de subjectivité à partir des premières monographies que le philosophe a consacrées à Hume, Kant, Nietzsche et Bergson. Il confronte les œuvres de ces auteurs aux monographies de Deleuze, et réarticule les concepts de la période de 'Différence et répétition' (singularités, habitudes, champ transcendantal, etc.) autour des questions sur la genèse et le statut de la subjectivité."--Page 4 of cover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Global Justice, Christology and Christian Ethics by Lisa Sowle CahillKeith SokoGlobal Justice, Christology and Christian Ethics Lisa Sowle Cahill NEW YORK: CAMBRIDGE UNIVERSITY PRESS, 2013. 328 pp. £62.00 / £20.99Given this book's title and its cover photo of Catholic Relief Services workers in Kenya, I was expecting an examination of global issues with case studies. But chapter titles such as "Creation and Evil," "Kingdom of God," "Christ," "Spirit," (...) and "Cross" tipped me off that my original expectations were incorrect.Perhaps this is Cahill's summa, an attempt to bring together current understandings of major themes in Christian systematic theology and to show how those are tied to Christian ethics. As the series editor, Robin Gill, notes, as opposed to specific moral issues, Cahill's "aim now is to supply a sustained theological basis for global justice" (xi). Cahill herself explains that she hopes "to give biblical and theological reasons for Christian commitment to justice, to show why just action is necessarily a criterion of authentic Christian theology, and to give grounds for Christian hope that change in violent structures is really possible" (1). This is a bold attempt that I feel works on some levels. Cahill draws from key historical and current theologians, including feminist thinkers and marginalized groups.As an ethicist, much of this was a fascinating read in current systematic theology, while some seemed like an overview. I found the chapter on creation and evil somewhat of a plodding summary, yet the chapters on the Kingdom of God, Christ, and the Cross are interesting reads on current discussions in Christology. I would recommend this book for academics and graduate students. Selected sections might work well for undergrads. Sections such as "Historical Research on Jesus" could be great current summaries for undergraduates. [End Page 190]The chapter on the Spirit was interesting but problematic because Cahill's overall approach could err too strongly on the presence of the Spirit primarily in the church itself rather than the world. The chapter on the Cross illustrates interesting historical and current discussion on the necessity of Jesus' death. At this point (246), I feel we primarily have a summary of Christian systematic theology. She acknowledges this as well: "The chapters thus far have been primarily biblical and theological in orientation, but ethical ideals and standards have played a key part in readings of scripture, doctrines, and theologies" (247).Then the book seems to abruptly shift to traditional ethics. With the chapter title of "Nature," I was expecting an examination of environmental ethics but instead got a helpful read on the natural law and virtue ethics approach of Thomas Aquinas. This chapter includes examples of "War as a Test Case" and "Ecology." The final chapter, "Hope," speaks of the need for hope in working toward just and peaceful societies. It includes the longest and only real case study in the book, describing how "Liberian peace activist Leymah Gbowee won the Nobel Prize for spearheading a grassroots women's movement against the civil war" there (295). This is a fascinating account of women using their power and perseverance to overcome an unjust regime, noting that "women had become the 'toy of war'" (298). Finally, observing that "peacebuilding practices reflect the vision of Christian politics that has shaped the previous chapters of this project" (302), she offers seven key points that tie previous chapter topics to current Christian ethics. It seems like an abrupt ending, finishing on point seven and not offering an overall reflection on the book itself.Given this structure, I wish that it had been written as a text for undergrads because the systematic topics covered, and their tie to and conclusion on Christian ethics, would be a nice format for an introductory course. But Cahill's work has always been current, progressive, and concerned with global ethics and the common good. This book is no different, and it is a welcome part of the New Studies in Christian Ethics series.Keith SokoSaint Ambrose UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

My dissertation presents a comprehensive rethinking of the Kantian imperative, articulating it on the basis of what I call originary sense. Calling primarily upon the works of Maurice Merleau-Ponty, Gilles Deleuze, and Jean-François Lyotard, I show (1) that sense constitutes the ontologically most basic dimension of our worldly being and (2) that the way in which this sense happens is determinative for our experience of the ethical imperative. By originary sense I mean to name something that is neither sensible (...) sense (sensation) nor intelligible sense (meaning), but rather a kind of unity of these two that is ontologically anterior to their separation. In the first chapter I follow Merleau-Ponty’s argument in Phenomenology of Perception that sensible sense and intelligible sense belong originarily together at the level of the lived body. We are able to intend the meaning of worldly situations (Husserl’s Sinngebung) only insofar as we are responsive in an embodied way to the imperatives that are given in the sensible itself. The intelligible lawfulness so characteristic of the Kantian imperative is thus shown to be grounded in a more fundamental unity of intelligible and sensible sense. The second chapter follows Merleau-Ponty’s later works, especially The Prose of the World and The Visible and the Invisible, showing how the sensibility that is inseparable from the imperative introduces important limitations to the universalizing tendencies of Kant’s moral philosophy, drawing us back to the irreducible situatedness of ethical situations. In the third chapter I turn to the very different articulation of sense given by Gilles Deleuze, primarily in his Logic of Sense. I show there that Merleau-Ponty’s phenomenological conception of sense does not allow us to think the singularity of the imperative, the fact that the ethical command weighs on a me that cannot be grasped in terms of the generalities of my public identity. This singularity corresponds broadly to the idea of dignity in Kant’s moral philosophy. I argue that Deleuze, who conceptualizes sense as an event, gives us the resources to think singularity and to understand what it entails for our ethical practice. Finally, I attempt in the fourth chapter to think these two sides of the imperative—its demand for universality and its emphasis on singularity and dignity— together in the idea of libidinal sense. Calling on Jean-François Lyotard’s Libidinal Economy and, to a lesser extent, on Deleuze and Guattari’s Anti-Oedipus, I show that these two apparently incompatible requirements of the imperative have a common source in the event of libidinal investment (cathexis). In thus locating the source of the imperative in originary, libidinal sense, I hope both to shed some light on the irreducible complexity of our ethical being and to present a more humane, less moralizing version of the imperative than is typically articulated in moral philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Complicating, Considering, and Connecting Music Education by Lauren Kapalka RichermeNasim NiknafsLauren Kapalka Richerme, Complicating, Considering, and Connecting Music Education (Bloomington, IN: Indiana University Press, 2020)Laurern Kapalka Richerme courageously engages with some of the significant concepts of Gilles Deleuze and Félix Guattari in a timely bounded volume, Complicating, Considering, and Connecting Music Education. Through this colossal endeavor, though not the first time a music education scholar deeply explores (...) Deleuzian concepts and theoretical analyses, Richerme provides a fresh perspective on his oeuvre within the field and paves the way for more engaged scholarly exploration on the roles and responsibilities of music education.1Considering the vanity in saying what one sees, as “what we see never resides in what we say,”2 any review of works related to Deleuzian concepts is more of an arborescent endeavor than a rhizomatic one. Consequently, the current review of Richerme’s book may also refute and go against Deleuze and Guattari’s most salient arguments. However, I would like to specifically elaborate on Richerme’s treatment of time; a much welcomed and overlooked aspect of education that Richerme has appositely and strongly delivered. “Music education is not a stagnant ‘what’ but a temporal ‘when’... While the question, ‘What is music education?’ solidifies music education into an immobile identity, asking ‘When is music education?’ emphasizes the differing, individually constructed nature of [End Page 202] educational experiences.”3 Not necessarily an original proposition to treat music education as a process rather than a product, a journey rather than a destination, a meandering rather than walking on a straight line, a desired path rather than a pre-constructed road, Richerme’s angle of this conversation takes on an entirely new path. Rather than solving the problem, as the problem is one’s music education, she elegantly modifies the question: “When is music education?”4 Richerme redirects the reader’s attention from the “spatial turn” in which the field has been engrossed to a temporal one, and from a totalizing music education to a totality of music education:5 “My voice cannot be ‘lost’ or ‘found,’ only silenced or embraced—restrained or encouraged to grow. It will always exist in an uncertain middle, differing day after day.”6Written in eight chapters with two bookending chapters with the same title, “Rhizomatic Journeying,” while the middle chapter re-considers considering and the penultimate chapter discusses the when in music education, Richerme demands the reader to attend to not only the book’s content but the poetic delivery of its prose. One could even recite the sentences and feel the elevation. Richerme’s unique voice is laudable for its humility of approach and candid pronouncements of mistakes made along the way of becoming-toward7 music educator. When reading, I felt I was a fellow traveler crossing paths with her while she shared some of her moments with me. She and I were the Nighthawks of Edward Hopper’s painting. Richerme was there to tell her story and I was there to silently listen; “the story is told and untold. Then retold.”8 And it is in this retelling that I would like to situate this review.This volume is first and foremost an ode to music education. Richerme has a command of the music education literature which manifests itself in the myriad examples she explores. She does not claim to portray novel ideas but crossing paths with other scholars in music education concerning not only Deleuzian concepts but ethical matters of education: “deeming something ‘good for’ is not the same as finding it ‘good’ in the ethical sense.”9 She does not disagree with scholars, perhaps following Deleuzian footsteps, but complements them; an exercise in nuance and scholarly practice not always historically prevalent in the field.However, this practical side of the book that attempts to situate Deleuzian concepts within music education are brought forth at the expense of a deeper level of theoretical analysis of and engagement with their comprehensively theorized concepts such as becoming, striated space, immanence, refrain, and deterritorialization. At times, it feels as though these concepts have been magiccarpeted rather than integrated within music education situations. This volume comes across, marvellously... (shrink)

For Bernard Stiegler ‘the question of philosophy is first of all that of action’ (p.7). By extending this statement to philosophy of education, I consider the possibilities of action in education in responding to the conditions of the contemporary. These conditions, which have come to be discussed and dissected with reference to such terms as Anthropocene (Stoermer, Crutzen), Capitalocene (Moore), Plantationocene (Haraway), hold unprecedented and mostly devastating consequences for all life. To consider possibilities for action within the field of education (...) to the conditions of the contemporary, I read Walter Mignolo’s concept of the colonial wound together with Gilles Deleuze’s conceptualisation of the wound. Based on this reading, I argue for the conditions of the contemporary to be understood as a wound in both Mignolo’s and Deleuze’s sense. Conceptualising it as such in turn allows me to ask how we might counter-actualise the wounds of the contemporary. In other words, how might we be worthy of the wound-event and respond in an affirmative yet critical manner to it within the field of education, and in so doing generate new possibilities of (educational) life. To consider what one such possibility of counter-actualisation might entail, I propose that education be informed by the notion of incompleteness, as expressed in the concept of conviviality. I conclude by reflecting on implications of counter-actualising the wound of the contemporary in relation to education if we were to activate the concepts of incompleteness and conviviality and pursue a different aesthetics of (educational) life. (shrink)

Marcel Proust ha passat a la història de la cultura occidental com un escriptor, principalment novelista. Amb tot, la seva obra mestra. A la recerca del temps perdut, un dels cims de la literatura mundial, conté nombroses reflexions que permeten identificar clarament també un Proust pensador. Reconstruir la filosofia de Proust tot resseguint la mirada sobre el món que representa a la recerca?. és l'objectiu d'aquest assaig. A partir dels aforismes, sovint metafòrics, del Narrador proustià, Jaume Urgell ens ofereix una (...) anàlisi de la posició de l'escriptor francès en el context de la filosofia del segle XX. Expressant-se de vegades com a hereu d'un pensament anti-racionalista, en ocasions com a a coetani del existencialisme europeu i sovint precursor tant del pensament ironista com de mites de la quotidianitat més contemporània, Marcel Proust ens llega una obra plena de significats i alhora lliure de qualsevol convencionalisme, cosncient de les seves pròpies màscares i alhora innocent en el seu desenvolupament. Aquest assaigpresenta també algunes de les contribucions més rellevants en l'estudi de l'obra proustiana, com són les de Samuel Beckett, Gilles Deleuze i Richard Rorty, i desbrossa les incursions de Proust en el camp de la psicologia, l'ètica i l'estètica. Jaume Urgell És llicenciat en ciències empresarials i MBA per ESADE i Màster en Administració Pública per la Universitat de Harvard. Té un Diploma d'Estudis Avançats en Filosofia i Literatura per la UB. Dedica la seva vida intel·lectual a la literatura, la filosofia, la política i les relacions internacionals, i ha publicat diversos llibres i articles sobre aquestes matèries. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Missing Links, A Book in Ten Sessions received the Award from the Association of Moving Image Researchers [AIM] for Best Monograph released in 2023. -/- Missing Links, A Book in Ten Sessions is Lucas Ferraço Nassif's elaboration on the work of art in Gilles Deleuze and Félix Guattari through description, time, cosmology, and desire production. The films of Chantal Akerman, alongside Anne Carson and Ludwig Wittgenstein, are his main objects of study. -/- //The book is available, open access.// -/- (...) //In Missing Links, Lucas Ferraço Nassif instructs that “cinema exists in the tension of desires, from everything that is in the game”. And “what is in the game vibrates”, or becomes perceptible in the tempo of film and filmic thought that somehow promises to reveal the nature of this world (maybe, a world that’s about to end). To approach such perception is to submit to description, says Nassif, and then proceeds to investigate the act of describing in all its perilous demand and exhausting impossibility. What can we know, after all, of Chantal Akerman’s Jeanne Dielman, at whom we look and look? Or of any seemingly-unified object that, in being worthy of our attention, must be recognized most fundamentally for the way it slips and blurs? I’m dazzled by this writer’s courage to “work on the void”, to tilt, heart in mouth, at ghosts and ruins. This is the drama I came for. — Matt Longabucco// -/- //Inside the cracks in Lucas Ferraço Nassif’s cinecriticism is an elegy for Chantal Akerman, born the same year as me and Anne Carson too, both here hailed. This elegy is composed as a montage that tells the tale of the Jewish filmmaker as desperado fleeing Sherriff Jean-Luc Godard on a runaway midnight train to Rio, which makes an unscheduled stop in Wittgenstein, Montana. What with all the humming, you just can’t see it. Or if you can, you can’t describe it. “We have nowhere else to start.” — Charles Bernstein// -/- //Lucas Ferraço Nassif’s expansive, rhizomatic project is “full” of missing links in the sense of plenitude: a surfeit of references, genres, affects, and paths for the reader to follow, the listener to harken, the viewer to watch. In the process of tracing affinities between the cast of characters in the intellectual drama staged here — from Jean-Luc Godard to Ludwig Wittgenstein, Anne Carson to Chantal Akerman, Gilles Deleuze to Jacques Lacan, and beyond — we have the chance to reconsider the articulations and boundaries, the flows and stoppages, between film and writing, autobiography and criticism, theory and practice. Missing Links is a ciné-poème of flickering, delicate attention that compels our immersion in turn. — Craig Dworkin//. (shrink)