Michel Serres’s philosophy of entropy takes what he famously calls the ‘Northwest Passage’ between the sciences and the humanities. By contextualizing his approach to entropy and affirming the role of a philosophy of difference, this paper explores Serres’s approach by means of ‘entropic differences’. It claims that entropy – or rather, entropies – provide Serres with a paradigmatic case for critical translations between different domains of knowledge. From his early Hermès series, through to The Birth of Physics and later writings (...) on social and ethical themes, he keeps thermodynamical and informational – or ‘hard’ and ‘soft’ – understandings of entropy apart, while simultaneously exploring their relation. By focusing on the systematic significance of Serres’s ‘entropic difference’, this paper shows how it unfolds not necessarily as an ontological difference but as an operative function between the history and philosophy of science, epistemology, and a theory of negentropic (inter)subjectivity. (shrink)

In his last work, Relire le relié, Michel Serres develops a philosophy of religion that circumvents the conventional demarcations of reason and faith, knowledge of the world and knowledge of revelation, or agnosticism and apology. In a structuralistically-informed relecture, he exposes the basic traits of religion. With its narratives and theologoumena, it captures and describes being-in-the-world as an event of universal synthesis. It is – in Serres’ diction – about the basic relatio of energy and information, entropy and negentropy, chaos (...) and order. This relié is described neither as an effort or act of a subject, a system, a language community, nor sufficiently as an emergence effect of evolutionary-natural processes. The recording of this synthesis forbids both any dichotomy of an irresolvable hiatus as well as the construction of a unitary space of any kind. (shrink)

With some justification, Michel Serres claimed that he was one of the first to make ecology a central question for philosophy. Many of his books explore the ecological emergency and spell out the need to include the more-than-human in any ethical and political response. Yet Serres’ thought has been generally neglected in scholarly debate outside France. To highlight the importance of Serres’ philosophy, I contrast aspects of his work with Latour’s sustained search for a political ecology. I contend that Serres’ (...) thought overlaps with but also challenges Latour’s approach that has increasingly turned for inspiration to the theory of Gaia proposed by Lovelock and Margulis. I argue that drawing from science, history, fables, the humanities and his own experience, Serres brings together a narrative of the commonality of all living and non-living things that exposes a contractable obligation and formulates the grounding for a new politics. (shrink)

This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that (...) rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument. (shrink)

The algorithm has become an increasingly important concept in understanding human behavior in recent years. In the case of sport, human bodies are seen as superficial to the driving force of the algorithm, whether it be genetic, behavioral or surveillance-technological algorithms (Harari Citation2015, 2020; Zuboff Citation2019). However, the French mathematician and philosopher Michel Serres (1930–2019) structurally relate algorithms to sports and bodily experience at multiple places in his oeuvre. According to Serres, sport actually enables us to reprogram and rewrite our (...) behavior, moods and thoughts, and therefore modifies our algorithmic status (Serres Citation1999, Citation2019). Against deterministic conceptions of the body, Serres argues that human bodies possess a ‘metamorphic’ nature that is similar to the procedural character of computer programs. This paper investigates the relationship between the algorithm and bodily existence through a reading of both Harari and Serres on sport. It will be argued that, against deterministic conceptions of the algorithm, the algorithm can actually broaden an understanding of the role of sports and physical activity. (shrink)

This article explores the topic of technology in Michel Serres’ work. Although a great deal has been said about Serres’ treatment of parasitic relations, noise, interdisciplinarity and communication, little has been written about his approach to questions of technology. The author first outlines general trends in the philosophy of technology and indicates how Serres fits within the field. He then suggests a way to read Serres by identifying ‘landmarks’ in his texts, which are used for explicating his position on technology. (...) Three of these landmarks are explored. The first is Serres’ philosophy of world-objects, which moves him to think through the relationship between humans, technology and natural evolution. The second is Serres’ notion of technologies ‘setting sail’ from the body, which allows him to build on Leroi-Gourhan’s work, and the third is Serres’ description of information technologies and the world of millennials, which leads to his position on pedagogy and technology. From an examination of these three landmarks, a picture emerges of a thinker for whom technology acts as a disturbance around which collectives form, establishing relations and deviations between ourselves and others. (shrink)

Focusing upon the five books of his early Hermes series, this article argues that Michel Serres furnishes an accomplished, unconventional philosophical account of communication and mediation-a structuralist epistemology designed to comprehend the sciences in their complexity and plurality-that, even decades after its first publication, has significant value for media theory. Two key themes within this pentalogy are highlighted: firstly, its emphasis upon motifs of communication, transport, and circulation, attempting to grasp the scientific field in topological terms, as a kind of (...) networked encyclopaedia; and secondly, its attempt to account for the intricate relationship between the formal and the empirical in all theorization. (shrink)

This paper looks at the theoretical practice of “critique” in the work of Michel Serres and Anna Lowenhaupt Tsing, focusing especially on the notion of parasitism and femininity. The co-reading shines a light on the crossings of their approaches, like a critique of “laboratory” - like conditions and a masculinist understanding of rationalism. Furthermore, it brings attention to some productive divergences. With Tsing’s approach, this paper reflects critically on Serres’s understanding of femininity and extents his philosophical elaboration of parasites and (...) fungi with a feminist, ecological and anthropological perspective. Serres, on the other hand, contributes with his multi-faceted figure of the “third” crucially to structural reflections on the relation between fungi and femininity, as well as to an understanding of “critique” from the “middle”, beyond the “battle of the two”. (shrink)

In this article, nonhuman poetry is explored. Departing from an autoethnographic project based on audio recordings made while running on revetments, and which discussed how to give voice to nonhuman actors the possibilities of nonhuman poetry, this text aims at taking it one step further by extracting poetry from the material. Ethnographically, this is discussed in terms of affect, and an 'ethnography to be'. Theoretically, the study has a posthumanist approach, with a specific focus on the econarratology of philosopher Michel (...) Serres. The method and theory are are discussed in tandem in relation to what philospher Peter Sloterdijk has coined 'amphibian anthropology'. By stacking the bracketed words in my transcriptions, four poems emerge in which background sounds, contextual descriptions, corrections and bodily sounds form the content. Each poem is accompanied by a map made from smartphone screenshots. The prose is found to be evocative of the surroundings of the recording, and also resonating with the ideas of human language as derivative of what Serres calls the Great narrative, the story of universe and nature themselves. The proximity to water and rocks discernible in the experiment is seen as a result stemming from practicing the hope-oriented 'ethnography to be'. (shrink)