El escrito, adentrándose en la teoría allagmática de Gilbert Simondon, tiene como objetivo provocarle al concepto de cosmopolitismo variantes ontológicas, epistemológicas y éticas. Se piensa, dichas variantes, al romper con los primados sustancialitas que sitúan el principio de individuación como algo consumado, idean un horizonte de sentido que se muestra capaz de expresar al cosmopolitismo, no como un ideal regulativo, sino como un proceso. De este modo, pensar al cosmopolitismo como un proceso, reclama asumir los movimientos ontológicos, epistemológicos y éticos, (...) no como abstracciones, sino como devenires-límite que reclaman examinar cómo es que nos creamos. Por lo anterior, en el escrito se afirma junto a Simondon: el cosmopolitismo pensado a la luz de la allagmática involucra la producción de movimientos capaces de afirmar disímiles modos de existencia. El cosmopolitismo es un proceso siempre por hacer y por afirmar en el que nos jugamos la posibilidad de expresar una vida digna. (shrink)

A significant increase in scientific discoveries, made possible, among other things, thanks to the computing power provided by modern information technologies, occurs against the background of the lack of theoretical and methodological resources necessary for their scientific conceptualization. The situation is similar to the one that took place at the turn of the 19th and 20th centuries and became the object of reflection on the part of philosophers called emergentists. This explains the revival in our time of interest in some (...) of their ideas, including the idea of ontological novelty, which emergent phenomena possess. Modern emergentism is positioned as a realistic teaching that aims to find access to reality in itself, before any knowledge about it, which implies overcoming the correlationism that has dominated philosophy since the time of Kant. One of the representatives of modern emergentism, Manuel DeLanda, tries to combine the position on the ontological novelty of emergent objects with the concept of individuation by Georges Kangilem, which reveals the mechanism of their occurrence and concretization in the form of individual singularities. This requires abandoning the ontology inherited from the ancient Greeks, based on the dialectic of the general and the singular, in favor of an ontology based on individual and universal singularities. The article analyzes the arguments of the supporters of the "new ontology" and concludes that, as in the case of classical emergence, modern discussions are caused by a crisis in physics, which is faced with the fact that the facts recorded during the study of the microcosm are inexplicable from the point of view of the existing theory, and therefore are really ontologically new. But it is possible that with the creation of the" new physics", these facts will cease to be emergent and will pass into the category of "others". (shrink)

This article presents an interpretation of Deleuze’s concept of difference-in-itself. I argue that this is best understood as an adption of Duns Scotus’s concept of ultimate difference. After suggesting that the influence of Scotus on Deleuze extends beyond their shared commitment to the univocity of being, I turn to briefly review Deleuze’s notion of absolute difference. I proceed from there to explain Scotus’s accounts of univocity and ultimate difference, throughout noting the many stark parallels with Deleuze. On the basis of (...) this Scotistic reading of Deleuzian difference, I then show how Deleuze’s synthesis of univocal being and difference-in-itself can be uniquely situated within the fourteenth-century Scotistic disputations on the predicability of univocal being to ultimate difference. I conclude with some suggestions on possible further connections between Deleuze and medieval metaphysics which are opened up through this association of Deleuze with Scotus and the Scotistic tradition. (shrink)

Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the (...) figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon's notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arise out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain stability within a system. In the case of archival films in which transduction occurs without prior intention or expectation, transduction can be foregrounded and prolonged. The connection between transduction and the “trembling meaning” of Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of film matter and its interferences with the figurative content. (shrink)

Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition , he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze (...) was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia , comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991). (shrink)