Mise en abyme is a term from literary theory denoting a work that doubles itself within itself, for example a story placed within a story or a play within a play. Proliferating in experimental fiction in midcentury France, this technique had a strong impact on contemporary literary theory, but also, as this book project argues, on post-Heideggerian and post-structuralist philosophy. The Little Crystalline Seed focuses on how three of these thinkers invoke the concept of mise en abyme in order to (...) establish ontologies that deviate from that of Heidegger. Iddo Dickmann demonstrates how the concept served in modeling Derrida's logic of supplementarity, Blanchot's philosophy of "ambiguity" and mechanism of Désouvrement, and Deleuze's philosophy of difference, time and repetition. Exploring the interpretative and generative potential of the mise en abyme for continental thought, Dickmann illustrates points of resonance between various philosophical topics such as aesthetics, ethics, time, logic, mirroring, play, and signification. (shrink)

I argue against the use of general ‘ism’ terms such as ‘speculative realism’ and ‘correlationism’ by Harman. This use is contrasted with more nuanced readings of philosophers, referring to Bryant and DeLanda’s more subtle versions of materialism that do not fit the general label. Instead of general categories I defend Deleuze’s use of the concept of problem as studied by Bell. This argument is then developed through a close reading of Logic of Sense, against Harman’s denial of the reality of (...) relations and processes. I demonstrate that Deleuze is not a correlationist as defined by Harman, by following Sauvagnargues, Smith and Beistegui on the concepts of event and simulacrum in Logic of Sense. I then consider Deleuze’s study of language and his argument that designation, signification and manifestation rely on the concept of sense. This argument leads to a position which is neither idealism, nor materialism, because the differential processes at work in sense cannot be reduced to matter or to the subject, working instead between them and denying their independent reality. (shrink)

Deleuze's theory of time set out in Difference and Repetition is a complex structure of three different syntheses of time – the passive synthesis of the living present, the passive synthesis of the pure past and the static synthesis of the future. This article focuses on Deleuze's third synthesis of time, which seems to be the most obscure part of his tripartite theory, as Deleuze mixes different theoretical concepts drawn from philosophy, Greek drama theory and mathematics. Of central importance is (...) the notion of the cut, which is constitutive of the third synthesis of time defined as an a priori ordered temporal series separated unequally into a before and an after. This article argues that Deleuze develops his ordinal definition of time with recourse to Kant's definition of time as pure and empty form, Hölderlin's notion of ‘caesura’ drawn from his ‘Remarks on Oedipus’ (1803) and Dedekind's method of cuts as developed in his pioneering essay ‘Continuity and Irrational Numbers’ (1872). Deleuze then ties together the conceptions of the Kantian empty form of time and the Nietzschean eternal return, both of which are essentially related to a fractured I or dissolved self. This article aims to assemble the different heterogeneous elements that Deleuze picks up on and to show how the third synthesis of time emerges from this differential multiplicity. (shrink)

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...) nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

In Coldness and Cruelty, Deleuze remarks that masochism may be reflected on from three perspectives: as a pleasure–pain alliance, as an enactment of humiliation and slavery, and as a consideration of the enslavement of contractual relations. Later Deleuze and Guattari consider masochism in terms of an ontology of desire – in terms of virtuality rather than extensity. I argue that while the actualisation of pain might be considered secondary, and is oftentimes portrayed as incidental in popular depictions, it also constitutes (...) the exhaustive/exhausted and refrain functions of masochism so that the masochist might be thought of as the figure of exhaustion. (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)

The aim of this paper is to explore why Deleuze takes up Hamlet's claim that ‘time is out of joint’. In the first part of this paper, I explore this claim by looking at how Deleuze relates it to Plato's Timaeus and its conception of the relationship between movement and time. Once we have seen how time functions when it is ‘in joint’, I explore what it would mean for time to no longer be understood in terms of an underlying (...) rational structure. The claim can be understood as about a relationship between time and action. In the second part of this paper, I want to relate this new understanding of time to Hamlet itself, in order to see how temporality operates within the play. I will conclude by relating these two different conceptions of time out of joint to one another through Nietzsche's eternal return. (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)

In Cinema 2 Deleuze conceptualises the time-image as a cinema of infinite variation, opening the stable forms of the movement-image to an unformed and virtual outside. Five years later he would develop a similar analysis in the short ‘Postscript on the Societies of Control’, arguing that a new system of organisation was expanding the disciplinary formations that had reached their peak in the first part of the twentieth century. In both works Deleuze explores a world in the process of systemic (...) deterritorialisation that has profound implications for the way that society is organised and in which the world is thought. This essay argues that the ungrounding discussed in both of these later works should be understood as part of a similar shift in the ordering of the world, where a new regime of thought has emerged. The relationship between these two concepts in Deleuze's thought has important implications with respect to our understanding of his work on cinema. I argue that this connection reveals the political dimensions of Deleuze's focus on the intolerable in the cinema books. An impoverished life, through lack of access to capital, protection and education, offers less access to life-chances and potential social transformations. I focus on cinematic depictions of poverty and powerlessness in two films by Béla Tarr to account for the significance of poverty in Deleuze's overlapping thought on cinematic creation and media control. (shrink)

We contemplate Deleuze and Guattari's discussion of in/compossibility through engagement with practices of spatial planning and development at the urban fringe in Australia. In such sites of ecosystem transformation, the presence of wildlife, such as mosquitoes, is often deemed incompossible with felicitous human habitation. We suggest that regarding worlds like those of mosquitoes and humans as divergent, rather than incompossible, opens up opportunities for inclusive disjunctive syntheses which affirm the disjoined terms without excluding one from the other. Relating inclusive disjunction (...) to intensive milieu, we call for development of a more milieu-based approach to planning to facilitate more-than-human coexistence differently. (shrink)

Deleuze adopts Nietzsche's manifesto for an overturning of Platonism. However, the consensus view is that Deleuze's project is best understood as a revision not a repudiation of Platonism. Deleuze's engagement with Platonism centres on The Sophist. Out of Plato's concept of phantasm, Deleuze fashions a new concept: simulacrum. In Difference and Repetition, simulacra are invited to rise and affirm their rights; and yet Deleuze later abandons the concept entirely. Why? Although suitable for the purposes of critique, it became otiose in (...) wider applications. More generally, and against the consensus view, I argue that the trajectory of the concept of the simulacrum is emblematic of Deleuze's anti-Platonism. (shrink)

This paper argues that current iterations of lesbian, gay, bisexual, transgender and intersex rights are limited by an overreliance on particular representations of sexuality, in which homosexuality is defined negatively through a binary of homosexual/heterosexual. The limits of these representations are explored in order to unpick the possibility of engaging in a form of sexuality politics that is grounded in difference rather than in sameness or opposition. The paper seeks to respond to Braidotti’s call for an “affirmative politics” that is (...) open to forms of creative, future-oriented action and that might serve to answer some of the more common criticisms of current LGBTI rights activism. (shrink)

Past and future coalesce in discussions of LGBTI rights, often embedded in narratives of progress, civilisation, colonisation and emancipation. An understanding of these dynamics can help to illuminate the complex power relations that currently striate international LGBTI rights discourses. This paper analyses how temporality operates in the context of international LGBTI rights through an examination of the World Bank’s withdrawal of a $90 million loan to Uganda after the passage of the Anti-Homosexuality Act 2014. To do this, the paper juxtaposes (...) postcolonial critiques of the ongoing international legal reproduction of the colonial encounter, with a Deleuzian conception of law’s ‘virtual memory’. These two theoretical lenses are used to show how attempts to advance LGBTI rights can reproduce problematic civilisational binaries, through which the Global North seeks to manage the unruly or ‘uncivilized’ Global South. These civilisational and spatial dichotomies are often obscured by un-interrogated ‘grand narratives’ of progress and by the codification of specific, narrow forms of rights protections. As such, the paper argues that in order to better advance current and future frameworks for sexual orientation and gender identity justice, we must undertake a more attentive encounter with the past. (shrink)

This essay suggests that despite the traditional viewpoint that it seemingly supplements patriarchy's consistent marginalization of maternal bodies, masochism, as formulated by Gilles Deleuze, offers the possibility of a maternal subjectivity beyond paternal domination. Deleuze's conception of masochism reveals an innovative way in which to view maternity as a tactical schema that operates through the perverse disavowal and resexualization of patriarchal law in order not only to destabilize its foundations, but to produce a maternal identity of the mother's own creation. (...) This essay will use Ira Levin's horror novel Rosemary's Baby to contextualize an adaptation of Deleuze's theory in order to account for the relationship between mother and child, and the emergent subjectivity the dyad produces. Levin's novel seamlessly showcases how the maternal body is observed and optimized by reproductive technologies in order to produce not only a heteronormative ideal of maternity, but a child who will reflect paternal law. This essay argues that the titular character, Rosemary Woodhouse, establishes a masochistic contract with her son whereby she reconfigures his identity through a perverse disavowal of the Law of the Father, replacing it with maternal authority. Most important, her performance of masochism results in the marginalization of the father, and the emergence of a new maternal identity. (shrink)

The article explores ethical conceptualisations of time that take the existence of the embodied Other in education into consideration. Kristeva’s time/memory paradox is discussed with regard to teachers’ everyday judgements in relation to student learning. In conclusion, learning as an unruptured endeavour is impossible when the time of the embodied Other is taken into account. In this sense, teachers need to be aware of: 1) the time gap between people, 2) the time gap between the conscious and subconscious, 3) the (...) fact that teachers’ and students’ meaning-making is always tainted by past memory, 4) the ways in which the timelessness of the subconscious crashes into conscious meaning-making in the present and creates ruptures that affect the content of learning and the life conditions of Others, 5) how frozen time can be used as a way of learning from ruptures, and 6) that processing time is just as important as ‘progressing in it’. (shrink)

What is it that determines the identity of an entity? Processualism is a theoretical perspective that offers a startling answer to this question. The identity of an entity—whether human or nonhuman, animate or inanimate—depends on the set of relations in which this entity is located. And as the sets of relations are several, so are the identities that an entity can take. This article discusses this conclusion by integrating processual accounts from different fields of inquiry, such as relativistic physics and (...) actor-network theory. According to a processual interpretation of relativistic physics, speaking of states of things is but an abstraction. For states come from the introduction of arbitrary breakups of the spacetime continuum. Therefore, processes precede states, a process being a set of relations that confers identity on a physical state. According to a processual interpretation of actor-network theory, the same holds true for actors. Again, speaking of states of actors is but an abstraction. For what really acts is heterogeneous networks. When one describes actors in isolation, one is neglecting a whole array of relations with other actors whereby that actor can act or is made to act in such and such a way. These strands of processualism come to the same conclusion as to the identity of entities. These are not characterized by individuality but by individuality: they can be differently individuated according to the set of relations one is able to take into account. The main methodological consequence is that, if one intends to describe what an entity is, knowledge of this entity—whether human or nonhuman, animate or inanimate—should be based on progressively less narrow localizations and mappings of the relations it has to other entities. (shrink)

This article proposes a different aesthetic state of Gilles Deleuze’s crystal-image defined as ‘psychedelic crystal’, a formation of the crystalline regime in light of the contemporary revival of scientific research exploring the healing potentialities of hallucinogenic drugs. The proposition of the psychedelic crystal occurs between Deleuze’s crystals of time, the therapeutic dimension of psychedelics, and Siegfried Kracauer’s concept of redemption (as salvation) through the cinematic medium. What lies in the middle of this encounter is a shared understanding of media – (...) films as media; drugs as media – as holding a curative influence: to resume an affirmative potentiality for life and to restore a belief in the (physical and psychical) world. The film-philosophical dimension of the psychedelic crystal, developed specifically through an engagement with Jan Kounen’s Blueberry (2004) as case study, sees cinema with the potential to reanimate our mental and physical reality, especially when in relation to traumatically repressed, dissociated or repeated memory formations – thus looking at certain film aesthetics as a mind-revealing, mind-expanding and mind-healing technology which can be considered as intrinsically entangled with the current revival of therapeutic practices of psychoactive substances. As a proposition, the psychedelic crystal discloses a potential dimension of the psychedelic frontier of healing which transversally embraces the transdisciplinary gamut of film-philosophy, film theory and psychedelic research. (shrink)

This article builds upon concepts of simultaneity and coexistence offered by Bergson and Deleuze to explore new approaches to cinematic audibility. Recognised film theory terms such as synchronisation and synchresis approach sonic time from the transcendent distance of audioviewership. This essay moves cinematic experience inward to ask what is audible within the film world itself. Simultaneity and coexistence penetrate cinematic time to express a multiplicity of audible layers, threads or lines that occur in relation to image-events. The essay both advances (...) and critiques Bergson's and Deleuze's conceptions of time, making it relevant to both film studies and metaphysics. (shrink)

Stemming from a general study of rhythm in the work of Gilles Deleuze, we propose a distribution of this concept throughout three levels: a topic level, in which we place rhythm between chaos and measure; a dynamic level, in which we analyse the formation of rhythm towards its stabilisation as a spatio-temporal dynamism; and an unfolding, in which these dynamisms take on the form of rhythmic machines applied in music (refrain), in painting (sensation) and in cinema (montage and time crystals). (...) In this last phase, the rhythmic devices of various arts lead to a genesis of time. We are thus driven to think and elaborate on the link between these two concepts, rhythm and time, in the writings of Deleuze. Bearing this purpose in mind, we turn to the schema of the three syntheses of time in Difference and Repetition. These syntheses show how time emerges from different ways of understanding repetition, in the place of which rhythm will then appear. We will compare this schema with the argument articulated by Deleuze in Logic of Sensation regarding rhythm in its pictorial form. This comparison will enable us to deduce that both concepts follow a parallel path arising from the same series of processes: vibration, coupling, resonance and forced movement. We will conclude that the schema proposed in Difference and Repetition and its aesthetic purpose delineate the ways in which rhythms unfold creatively. These three syntheses of rhythm are implicated in artistic processes. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...) criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)