Some people ask how can you possibly translate Deleuze into Japanese. This is an interesting question that I’d never asked myself previously. According to W. Benjamin, a work’s essence only emerges through translation. Yet, when translating Deleuze and other authors into another language, whatever this may be, it’s also important to translate the text’s voice, along with all the underlying voices it bears within it. As the very flesh of thought, it’s the voice that we want to translate, and in (...) seeking to do so we experiment with the impossible. Whatever may come of this, through experimenting with the impossible many things happen. (shrink)

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance (...) of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects. (shrink)