This paper is an attempt to implement Gilles Deleuze's theory of the series and the event, and the related function of the empty square (as formulated primarily in The Logic of Sense), in relation to the geopolitical regime comprising ‘Israel proper’ and the system of occupation in the West Bank and the Gaza Strip. The purpose of this exercise is to help establish a practical access to Deleuze's philosophies, and to offer a clinical account of the Israeli occupation of the (...) Palestinian territories. (shrink)

Critical responses to Wide Sargasso Sea have seized upon Rhys's novel as an exemplary model of writing back. Looking beyond the actual repetitions which recall Brontë’s text, I explore Rhys's novel as an expression of virtual difference and becomings that exemplify Deleuze's three syntheses of time. Elaborating the processes of becoming that Deleuze's third synthesis depicts, Antoinette's fate emerges not as a violence against an original identity. Rather, what the reader witnesses is a series of becomings or masks, some of (...) which are validated, some of which are not, and it is in the rejection of certain masks, forcing Antoinette to become-Bertha, that the greatest violence lies. (shrink)

This research explores the carnal, experienced self as processual and becoming, situating life as zoe (as per Braidotti) in the context of the Western culture, characterized by alienation (Fromm, Foucault). The study first addresses the ontological disposition of the carnal self and then turns to the concepts of life and death (Freud, Fromm), to explicate the tie between materiality and discourse conditions. Erich Fromm’s classical distinction of having and being is restated as a distinction of having and becoming, which are (...) then explored as complimentary ontological, cultural, and characterological directionalities. A genealogy of their mutual dynamics then allows situating the relations of carnal bodies and inorganic prosthesis (e.g. technologies) in the light of life considered as the necessary synthesis of forces of preservation and perpetual change, beyond subject-object duality. (shrink)

Drawing on Gilles Deleuze this chapter investigates the virtual as what problematizes the possible by inserting contingency in the process of emergence of the new. The tension between the virtual as what is uniquely placed to engender true innovation, and its aleatory and unforeseeable nature mirrors the tension existing in design between form-making and the need to acknowledge contingency. In embracing the un-designability of the virtual, design is called to take contingency and material variability as forces impinging on the process (...) of emergence of the new. The chapter puts forward a new model for design research that shifts from problem-solving to problem-finding and is predicated on the undesigned at the core of design itself. This points to a further shift: the role of designer from creator to facilitator, teasing form out of the formless, engaged with the manifold forces expressed through material variation. (shrink)

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it develops transcendental (...) empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces. (shrink)

What is?Curriculum Theory articulates the problematic of difference, diversity, and multiplicity in contemporary curriculum thought. More specifically, this essay argues that the conceptualization of difference that dominates the contemporary curriculum landscape is inadequate to either the task of ontological experimentation or the creation of non-representational ways for thinking a life. Despite the ostensible radicality ascribed to the curricular ideas of difference and multiplicity, What is?Curriculum Theory argues that these ideas remain wed to an structural or identitarian logic that derives difference (...) from the a priori conditions of the possible. Further, this essay argues that the orthodox conceptualization of difference in contemporary curriculum studies is complicit with the capitalist commitment to quantitative multiplicity, or rather, the proliferation of ‘multiple consumer choices’. Following this problematic, the task of this paper is oriented to the conceptualization of difference adequate to the creation of a people yet-to-come, or rather, a people for which no prior image exists. To accomplish this, What is?Curriculum Theory draws upon Deleuze’s Bergsonism in order to advance a conceptualization of difference that breaks from modes of dialectical negation and contradiction particular to the tyranny of representational thinking. Articulating an image of difference that no longer accords to the possible, this essay composes a thought experiment conceptualizing a pedagogical life in a manner that explicates the transversal relationship between the actual and the virtual. (shrink)

Reconceptualist and post‐reconceptualist curriculum scholars have drawn upon the notion of a complicated curriculum conversation as a means to describe the imbricated, pluralist, and eclectic character of curriculum theorizing. Insofar as this curriculum conversation is accomplished via language however, it remains wed to a particular representational logic restricting what might be thought. This essay explores the question of what it means to theorize curriculum when the very idea of a complicated curriculum conversation begins to fall into cliché. Mobilizing the philosophical (...) thought of Gilles Deleuze, this essay analyzes three representational commitments of contemporary curriculum theorizing, addressing how each are inadequate for the theorization of difference or the instantiation of the radically new. Against the implicit commitment to conformity alive in the curriculum field, this essay posits an ethics of disidentification exemplified via Bruce McDonald's horror film Pontypool. It is via such a tactic of productive disidentification, this essay claims, that thought might be unfettered from the orthodoxies of common sense, becoming in this way more adequate for opening spaces unanticipated by contemporary representational regimes. (shrink)

In this article I attempt to reveal some continuities between the anti-psychoanalytic stance adopted by Gilles Deleuze in his later work and Henri Bergson's early philosophy. On account of these continuities I hope to provide a glimpse into what I believe is a century-old tangent of philosophical resistance to the methods and theories of Freudian psychoanalysis. In order to achieve this, I start with a brief meditation on the challenges and benefits of cross-generational inheritance and collaboration in philosophy. The purpose (...) of this is twofold – to explore some general conditions for such collaboration and to tease out some of the implications of these conditions for the substantive argument my specific reading of Bergson via Deleuze occasions. I then expound on Bergson's theory of duration and some of the uses to which Deleuze puts it in the latter part of his career. In this I outline several fecund similarities between Bergson's critique of associationism and Deleuze's attack on Freud. Finally, I attempt a partial evaluation of Freudian psychoanalysis from the joint, albeit naturally disjointed, perspective of my primary sources. (shrink)

In Essays Critical and Clinical, Deleuze argues that Beckettian characters usually strive towards becoming imperceptible. This statement immediately poses another question: what is becoming imperceptible and where does it lead? How can we rid ourselves of ourselves? Paradoxically enough, Deleuze states that becoming imperceptible is life. The literal and self-evident meaning of life seems somehow incompatible with the image of dissolving and decaying characters in Beckett's works. Contrary to this self-evidence, the notion of life in Deleuze and Beckett should be (...) interpreted as pure potentiality which opens both the potential to be (or do) and the potential not to be (or do). Beckettian characters together with other figures, such as Bartleby, let us think of a life in its potential not to be. The life of the individual gives way to impersonal and singular life: a life of pure immanence. Such a life can be immanent to a man who no longer has a name, though he can be mistaken for no other: the Beckettian Unnamable. (shrink)

The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as (...) a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museum-specific modes of engaging questions—across science, culture, and society—particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations. (shrink)

This article attempts to understand the reconstitution of the `present' in modern societies. I argue that this reconstitution is the result of work done on `bare life', which I associate with that little space of time between action and performance. The article goes on to consider the ways in which this reconstitution of the present is taking place, using examples from the economic sphere. Throughout the article, I argue that operations on bare life are not only instrumental but also open (...) up new spaces of biopolitical practice based on a greater recognition of the value of slowness in a world commonly figured as fast. (shrink)

The persisting usage of virtual means for the completion of activities usually or traditionally held in person stimulates the reflection about the possible effect that doing philosophy online could have on the philosophical integrity of the process. The body question seems to be pivotal in this context not only as far as concerning virtuality issues but also philosophy’s care to integrate the body into its routines – when it is practiced physically – especially in the frame of an education still (...) hesitating to embrace embodied experience. The body deficiency, its vanishing, is first of all a question for philosophy and its ways to be practiced today – on that basis, passing through virtuality’s discourses can enlighten the relevant reflection. (shrink)

How can Deleuzians make his philosophy as accessible as possible to political theorists and democratic publics? This essay provides principles to enter Deleuze's political vision, namely, to research the etymology of words, to discover the image beneath concepts, to diagram schemata using rigid lines, supple lines and lines of flight, and to construct rules that balance experimentation and caution. The essay then employs this method to explicate a fecund sentence about politics in A Thousand Plateaus and presents a case why (...) Deleuze deserves greater visibility in the political theory canon. (shrink)

The utopia we are dealing with here could have been called ‘the mother of all utopias’ since it is in fact humanity's greatest, most primal dream, indeed the one that defines us as human. This great utopia, from which are woven our representations of paradise, for example, is immortality, the theme of René Barjavel's novel entitled The Immortals (1973).

According to a widespread view, one of the most important roles of education is the nurturing of common sense. In this article I turn to Gilles Deleuze’s concept of sense to develop a contrary view of education—one that views education as a radical challenge to common sense. The discussion will centre on the relation of sense and common sense to thinking. Although adherents of common sense refer to it as the basis of all thought and appeal to critical thinking as (...) instrumental in eliminating its occasional errors, I shall argue, following Deleuze, that common sense education in fact thwarts thinking, while only education which revolves around making sense may provoke thinking that goes beyond the self-evident. I demonstrate how making sense can become an educational encounter that breaks hierarchies and generates thinking independently of the thinker’s knowledge and place in the sociopolitical order. The present article attempts, therefore, to put some sense into Deleuzian education for thinking, and thereby shed new light on its radical-political, counter-commonsensical power. (shrink)

This essay explores the relation between repetition and thought in Bergson and Deleuze. In Bergson, this relation is seen in the method of intuition by which thought is made to think in time and in the ‘rhythms’ at work in how intuition is a contact with time or life, urging conceptual precision. This framework is used to clarify Deleuze's thought without image as that contingent encounter with the persistent forces of life that demand the perseverance of thought. Far from stressing (...) difference alone, both link the repetition in life to the unsettling persistence required to develop a truly new thought. (shrink)

A process philosophical interpretation of Deleuze's theories of time encounters problems when formulating an account of Deleuze's portrayal of temporality in The Time-Image, where time is understood as having the structure of instantaneity and simultaneity. I remedy this shortcoming of process philosophical readings by formulating a phenomenological interpretation of Deleuze's second synthesis of time. By employing Deleuze's logic of affirmative synthetic disjunction in combination with his differential calculus interpretation of Spinoza's and Bergson's duration, this phenomenological interpretation portrays time as given (...) to our awareness in immediacy rather than through a continuous process of unfolding. The viability of this alternate approach calls into question the claims that Deleuze is strictly a process philosopher and anti-phenomenologist. (shrink)

When writing about cinema does Deleuze have a conception of cinema spectatorship? In New Philosophy for New Media, Mark Hansen argues that Deleuze does have a conception of cinema spectatorship but that the subjectivity central to that spectatorship is weak and impoverished. This article argues against Hansen's reductive interpretation of Deleuze. In doing so, it relies on the three syntheses of time developed in Difference and Repetition alongside an elaboration of Deleuze's notion of a ‘cinematographic Cogito’. In this way, the (...) article offers a way of understanding the processes of cinema spectatorship from a Deleuzian perspective. (shrink)

This essay analyses how Virginia Woolf's critically under-examined children's story about Nurse Lugton connects the becoming-artistic of writing to animal becomings. Examining the links between creativity and the other-than-human via Gilles Deleuze and Elizabeth Grosz, I claim that the ‘animation’ of the stitched animal figures on Nurse Lugton's ‘canvas’ reveals that art is the enlivenment of vibratory and affective qualities, as opposed to a monumentalising of symbols or concepts. Moreover, the curtain in Woolf's story should be read as creative materiality (...) itself, its folds participating in the self-varying dynamism of the virtual and actual. My analysis of the two published versions of the story, and their accompanying illustrations, outlines an affirmative bio-poetics at the heart of Woolf's aesthetic project and suggests that Woolf's creative sources are embedded in inhuman, biological forces. (shrink)

One of the many narratives of twentieth century philosophy regards the relationship of philosophy to science: the opinions and arguments over whether philosophy as a discipline should be an assistant, critic, or master over science, and what particular ways philosophy could articulate these roles. One can interpret most of the major conflicts and disciplinary divisions of philosophy as having to do with its relationship with science. The conceptual roots of the general acceptability of a convergence of science and metaphysics would (...) appear to lie in the focus of both subjects, broadly conceived: investigating the nature of existence. Yet, after the rise of post-modernism in many humanities fields, dialogue between philosophy and science on many important issues has become impossible, scientifically-minded intellectuals having no expectation that humanities can contribute usefully to the disciplines of science. (shrink)

In this article I will suggest ways in which adding the French philosopher Gilles Deleuze to the mix can complement and extend the 4EA approach to cognitive science. In the first part of the paper, I will show how the Deleuzean tripartite ontological difference (virtual/intensive/actual) can provide an explicit ontology for dynamical systems theory. The second part will take these ontological notions and apply them to three areas of concern to the 4EA approaches: (a) the Deleuzean concept of the virtual (...) will clarify the ontological status of perceptual capacity as sensorimotor skill; (b) the Deleuzean concept of “intensive individuation” will clarify the ontological status of the genesis of perceptually guided behavior; (c) the Deleuzean critique of confusing the actual and the virtual will enable us to intervene in the realism/idealism debate. These aspects will not be addressed sequentially but will be interwoven into an unfolding argument. (shrink)

Bergson identifies multiple forms of memory throughout his work. In Matter and Memory, Bergson considers memory from the perspectives of both psychology and metaphysics, and he describes what we might refer to as contraction memory, perception memory, habit memory, recollection memory, and pure memory. Further, in subsequent works, Bergson discusses at least two additional forms of memory – namely, a memory of the present and a non-intellectual memory of the will. However, it is often not clear how these different forms (...) of memory relate to one another. With the aim of providing an overview of Bergson's philosophy of memory that can also serve as a point of entry to his philosophy as a whole, this article explores the different senses and forms of memory that Bergson describes, paying special attention to how they are distinct from one another and how they are unified. It is my intention to show that, although these various senses and forms of memory are different from one another , they are also continuous and unified insofar as they are equivalent to different tones of one's mental life and to different tensions of one duration. (shrink)

Early 20th century philosopher Henri Bergson posited an initial push that propelled the diversity of life forward into a varied, novel future: The élan vital, a necessary force or impulse that animated life’s progress and development. His idea had largely been abandoned by mid-century. Even so, much of the conceptual and explanatory work this impulse targeted is yet in want of an explanation. In particular, Bergson’s derelict ideas on evolution addressed three areas that have once again become relevant in the (...) effort to unite evolutionary genetics, biological development, and ecological context : the purposeful nature of individual organisms and their parts; the integrative, holistic, non-linear emergent dynamics seen in evolutionary processes; and how genuine novelty emerges into the universe :422, 2016; Simondon et al. in On the mode of existence of technical objects. Univocal series, Univocal Publishing LLC, Minneapolis, 2017; Bang, in: Winther-Lindqvist, Bang, Valsiner Nothingness: philosophical insights into psychology, Transaction Publishers, Somerset, 2016; Moreno and Mossio in Biological autonomy: a philosophical and theoretical enquiry. History, philosophy and theory of the life sciences, Springer, Dordrecht, 2015). In this paper I argue that Bergson’s ideas may yet be relevant to these questions, and his work warrants a reexamination in light of current problems in evolutionary biology. This is not a call to ‘return’ to Bergson, nevertheless his notions about complexity suggest ways of looking at current biological problems in ways that offer a heuristic insight worth entertaining. Bergson’s Nobel Prize-winning book, Creative Evolution, provided a strikingly prescient early 20th century framework for understanding how Darwinian evolution acts as an engine for generating new forms, University Press of America, Lanham, Bergson 1911). (shrink)

In this essay I contest the view that evolution can be conceived as a cosmic entity working out a plan of increasing negentropic complexification. The problems associated with this view, characteristic of a great deal of contemporary speculation, are outlined in section I. In section II I go on to further problematise current constructions of technics and machines and provide an alternative ‘machinic’ model of the play of entropy and evolution. In section III I examine the aesthetic praxis of Stelarc (...) as a site in which the ‘meaning’ of post‐human evolution can be productively contested and illuminated. (shrink)

Deleuze reworks Marxist concepts in order to identify those that represent discontinuity and produce a theory of revolution. Marx is important because, along with Spinoza and Nietzsche, he is a part of a project to leave behind concepts such as transcendence and univocity which underlie the totalitarianism of traditional philosophy. Deleuze is looking for concepts that might form a different theory, within which the structures of production are not organised vertically by the domination of universal concepts, such as ‘being’ or (...) ‘essence’, but flow horizontally through a multiplicity of relations of conceptual singularity. The production of a different series of concepts is a strategic and tactical operation that, in confronting prior notions of transcendental philosophy, turns philosophy itself into a battlefield. Marx provides the general methodology for this tactical approach through two fundamental categories: production and conflict. Deleuze practises Marx's theoretical method and by using Marx's own central concepts challenges traditional Marxism, to arrive at a totally different and revolutionary philosophical structure based on concepts such as those of force, variation, difference, singularity, production and the war machine. (shrink)

Name der Zeitschrift: Paragrana Jahrgang: 25 Heft: 2 Seiten: 80-93.

This article offers two commentaries on two of Félix Guattari's essays from Chaosmosis: ‘The New Aesthetic Paradigm’ and ‘Schizoanalytic Metamodelisation’. The first commentary attends specifically to how Guattari figures the infinite/finite relation in relation to what he calls the three Assemblages (pre-, extant, and post-capitalism) and then even more specifically to the mechanics of this relation – or folding – within the third ‘processual’ Assemblage or new aesthetic paradigm of the essay's title. The second commentary looks at what Guattari has (...) to say about this paradigm in relation to subjectivity, that is, the schizoanalytic programme or practice of metamodelling. Here the focus is on the turn to asignifying semiotics – but also the importance of signifying material and indeed the actual material scene of encounter – in any programme for the production of subjectivity (it is here also that the symptom makes its appearance). (shrink)

This article explores the resonances between certain concepts of Deleuze and Badiou and a Western Buddhism that is figured, in Foucault's terminology, as a particular ‘technology of the self’. In particular Deleuze's readings of Bergson and Spinoza are brought into encounter with Buddhist doctrine and practice alongside a consideration of the figure of the bodhisattva who is further compared to Badiou's account of the subject. At stake in these enquiries and experimental conjunctions is the laying out of a particular – (...) and liveable – diagram of the finite–infinite relation, or, we might say, a specifically Western dharma for a contemporary production of subjectivity. (shrink)

This paper addresses the remarkable longevity of the idea of vitalism in the biological sciences and beyond. If there is to be a renewed vitalism today, however, we need to ask – on what kind of original conception of life should it be based? This paper argues that recent invocations of a generalized, processual variety of vitalism in the social sciences and humanities above all, however exciting in their scope, miss much of the basic originality – and interest – of (...) the vitalist perspective itself. The paper argues that any renewed spirit of vitalism in the contemporary era would have to base itself on the normativity of the living organism rather than on any generalized conceptions of process or becoming. In the terms of the paper, such a vitalism would have to be concrete and ‘disciplinary’ rather than processual or generalized. Such a vitalism would also need to accommodate, crucially, the pathic aspects of life – pathology, sickness, error; in short everything that makes us, as living beings, potentially weak, without power, at a loss. Sources for such a pathic vitalism might be found above all in the work of Georges Canguilhem – and Friedrich Nietzsche – rather than primarily in Bergson, Whitehead or Deleuze. (shrink)

This paper problematizes current thinking about education by arguing that the question of educational purpose is not simply a socio-political question concerned with what the ends should be and why...

If the twentieth century was the age of the world picture taken as a photograph of the Whole Earth from outer space, today’s observations of the planet are produced by means of computer simulation. Pandemic models are of paramount sociological interest in this respect, since modelling contagion is closely intertwined with modelling the material connectivities of social life. By envisioning the global dynamics of disease transmission, pandemic simulations enact the relationscapes of a transnational world. This article seeks to analyse such (...) an enactment: It asks how simulation methods can establish a particular relation to the social from within the social. To provide an answer to this question, and adopting Niklas Luhmann’s theory of world society, pandemic simulations are described as modes of global self-observation that can be specified factually, socially, spatially and temporally. They instantiate a ‘doubling of reality’ designed to apprehend the potential future threat of disease transmission along the pathways marked by global infrastructures. They constitute scopic regimes that virtually synthesize a global situation of universal communicability in order to turn the world into an object of political intervention. (shrink)

In the dominant “climate change” imaginary, this phenomenon is distant and abstracted from our experiences of weather and the environment in the privileged West. Moreover, climate change discourse is saturated mostly in either neoliberal progress narratives of controlling the future or sustainability narratives of saving the past. Both largely obfuscate our implication therein. This paper proposes a different climate change imaginary. We draw on feminist new materialist theories—in particular those of Stacy Alaimo, Claire Colebrook, and Karen Barad—to describe our relationship (...) to climate change as one of “weathering.” We propose the temporal frame of “thick time”—a transcorporeal stretching between present, future, and past—in order to reimagine our bodies as archives of climate and as making future climates possible. In doing so, we can rethink the temporal narratives of climate change discourse and develop a feminist ethos of responsivity toward climatic phenomena. This project reminds us that we are not masters of the climate, nor are we just spatially “in” it. As weather-bodies, we are thick with climatic intra-actions; we are makers of climate-time. Together we are weathering the world. (shrink)

The aim of this paper is to demonstrate that adjusting Stump and Kretzmann’s “atemporal duration” with la durée, a key concept in the philosophy of Henri Bergson, can respond to the most significant objections aimed at Stump and Kretzmann’s re-interpretation of Boethian eternity. This paper deals with three of these objections: the incoherence of the notion of “atemporal duration,” the impossibility of this duration being time-like, and the problems involved in conceiving it as being related to temporal duration by a (...) relation of analogy. I conclude that “atemporal duration” — when combined with Bergson’s durée to become an “atemporal durée” — is a coherent understanding of divine eternity. (shrink)

This article studies the phenomenology of chronic illness in light of phenomenology’s insights into ecstatic temporality and freedom. It shows how a chronic illness can, in lived experience, manifest itself as a disturbance of our usual relation to ecstatic temporality and thence as a disturbance of freedom. This suggests that ecstatic temporality is related to another sort of time—“provisional time”—that is in turn rooted in the body. The article draws on Merleau-Ponty’s Phenomenology of Perception and Heidegger’s Being and Time , (...) shedding light on the latter’s concept of ecstatic temporality. It also discusses implications for self-management of chronic illness, especially in children. (shrink)

Husserlian variation, Bergsonian intuition and Peircean abduction are contrasted as methodological responses to the traditional philosophical problem of deriving knowledge of universals from singulars. Each method implies a correspondingly different view of the generation of the variations from which knowledge is derived. To make sense of the latter differences, and to distinguish the different sorts of variation sought by philosophers and scientists, a distinction between extensive, intensive, and abductive-intensive variation is introduced. The link between philosophical method and the generation of (...) variation is used to illuminate different philosophical conceptions of nature and nature's relation to meaning and sense. (shrink)

Interactive social cognition theory and approaches of developmental psychology widely agree that central aspects of emotional and social experience arise in the unfolding of processes of embodied social interaction. Bi-directional dynamical couplings of bodily displays such as facial expressions, gestures, and vocalizations have repeatedly been described in terms of coordination, synchrony, mimesis, or attunement. In this paper, I propose conceptualizing such dynamics rather as processes of affective resonance. Starting from the immediate phenomenal experience of being immersed in interaction, I develop (...) the philosophical notion of affective resonance to refer to a dynamic entanglement of moving and being-moved in relation. The concept of affective resonance makes visible that the interaction dynamic itself creates an affective experience rather than transmitting internal feeling states between pre-existent individuals. This leads to a philosophical framework in which relationality and ontogeny are primary over separate individuals, and in which the naturalistic distinction of a fundamental physical level versus an emerging level of social processes has to be given up. (shrink)

This article proposes a reading of the lives of teachers through a Deleuzian-Guattarian materialistic approach. By asking the question ‘what kind of life do teachers live?’ this article reminds us that teachers sometimes welcome the imposed policies, procedures and programmes, the consequences of which remove them from students. This desire is compared to another desire—the desire for children. Teachers are seen as machines rather than singular organisms, so that what helps a teacher in her becoming are her connections to students. (...) Activities are seen in terms of intensities and flows, rather than as actions which crystallise such flows. Roald Dahl's story of Matilda is used as a fictional example of the above. (shrink)

In this paper I explore Henri Bergson’s notion of the meaning of life by focusing on two places where he discusses it in his work. The first is Creative Evolution (1907, CE), where a bio-ontological meaning of life is proposed in terms of the ongoing ‘advance’ of the élan vital. Bergson conceives of this vital tendency towards freer activity in terms of nature’s pursuit of a mechanics that would triumph over mechanism. The second is a lesser-known paper called ‘Psycho-physical Parallelism (...) and Positive Metaphysics’ (1901, ‘PPPM’), where Bergson articulates the same themes concerning the evolutionary relationship between life and matter, only this time gives an ethical rendition of the meaning of life. Discerning the true sense of the distinction between mind and body, he claims, will allow us to understand the reason they ‘unite and collaborate’, and thereby to speculate on thought’s apparent trajectory towards an independence from matter. While the latter position appears to be inscribed within the former, this continuity nonetheless resists reducing the ethical to a biological essentialism. This is ensured by the ‘virtual’ nature he ascribes to life’s movement, which shows that the ethical meaning of life is ultimately grounded in an ontology premised upon the irreducibly open and inventive rather than on the reductively closed and repetitive. In turn, this conception of life’s virtuality further illuminates what Bergson might mean, from an ethical perspective, as regards a progressive independence from matter, which I propose in terms of a withdrawal from the body and the present, with a view to a superior moral activity. (shrink)

This paper draws from resources in the work of Deleuze to critically examine the notion of organicism and holistic relations that appear in historical forerunners that Jung identifies in his work on synchronicity. I interpret evidence in Jung's comments on synchronicity that resonate with Deleuze's interpretation of repetition and time and which challenge any straightforward foundationalist critique of Jung's thought. A contention of the paper is that Jung and Deleuze envisage enchanted openings onto relations which are not constrained by the (...) presupposition of a bounded whole, whether at the level of the macrocosm or the microcosm. Openings to these relations entail the potential for experimental transformation beyond sedentary habits of thought which are blocked by a disenchanting ‘image of thought’ that stands in need of critique. Other examples of enchanted openings in Jung's work are signposted in an effort to counter their marginalisation in some post-Jungian critiques and to signal their potential value from a Deleuzian perspective. (shrink)

In Virginia Woolf's 1931 novel The Waves, one of Bernard's many becomings – his ‘becoming-savage’ – reveals a point of intersection between Woolfian aesthetics and Deleuze and Guattari's philosophy. Moreover, a triangulation of Woolf's ‘moments of being’, Deleuze and Guattari's ‘worlding’, and coloniality provides a new and productive node for examining the debates surrounding imperialism in these thinkers’ works, and an insistence that Woolf, read alongside Deleuze and Guattari, offers an alternate and precisely ethical way of being in the world.

This essay suggests an approach to the reading of Deleuze and Guattari's A Thousand Plateaus, grasped as a philosophical event that is as directly pragmatic as it is abstract and speculative. A series of key Deleuzo-Guattarian concepts (in particular, multiplicity, minority and double becoming) are staged from the angle of philosophy's relation to its disciplinary outside. These concepts are then transferred to the relation between the authors' philosophical lineage and the new cultural outside into which the Chinese translation will propel (...) their thought. Emphasis is placed on the writing – and reading – of philosophy as a creative act of collective import and ethical force. (shrink)

The French philosopher, Gilles Deleuze, is emerging as one of the most important and influential philosophers of the 20th century, having published widely on philosophy, literature, language, psychoanalysis, art, politics, and cinema. However, because of the ‘experimental’ nature of certain works, combined with the manner in which he draws upon a variety of sources from various disciplines, his work can seem difficult, obscure, and even ‘willfully obstructive’. In an attempt to resist such impressions, this paper will seek to provide an (...) accessible introduction to Deleuze's work, and to begin to discuss how it can be employed to provide a significant critique and reconceptualization of the theoretical foundations and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. In order to do this, the paper will focus upon Deleuze's masterwork, and the cornerstone to his philosophy as a whole, Difference and Repetition; in particular, it will discuss how his innovative and challenging account of time can be employed to provide a conception of human life as a ‘continuity’, rather than as a series of distinct ‘moments’ or ‘events’. As well as discussing the manner in which his work can provide us with an understanding of how life is different and significant for each human being, this paper will also highlight the potential importance of Deleuze's work for logotherapy, for the recent ‘turn’ to ‘narrative’ as a psychotherapeutic approach and for contemporary mental health care's growing interest in ‘social constructionism’. As such, this paper also seeks to stimulate further discussion and research into the importance and the relevance of Deleuze's work for the theory and practice of psychiatry, psychotherapy, and mental health nursing. (shrink)