In order to understand how Deleuze's method of dramatization is ‘not privileging mankind in any way’, this article turns to the figure of the marionette as it is discreetly, but consistently, developed thorough Deleuze's books. Inspired by Kleist's On the Marionette Theatre, this marionette figure claims for a rhizomatic approach to the subject, defined by the lines it draws into space and exercising its freedom in the present of Aion through spatio-temporal dynamisms similar to those of Leibniz's monads. The strange (...) freedom developed by marionettes also leads to an examination of Nietzsche's ‘eternal return’, which is at the core of Deleuze's elaboration of the method of dramatization. Combining Nietzsche's eternal return with the characteristics of Deleuzian marionettes then requires us to revisit the famous concept of ‘becoming’: becomings are selective, both methodologically and ontologically. (shrink)

Cet article interroge la place de l’esthétique dans la philosophie générale d’Étienne Souriau. Faut-il voir dans l’esthétique, comme le suggèrent certains passages et exemples chers à Souriau, le paradigme de l’activité créatrice et le ressort-même de l’instauration, concept central de la philosophie sourialienne? Ou, au contraire, l’esthétique et les créations artistiques ne fourniraient-elles que des exemples, certes particulièrement nets, de processus appelés « cosmiques » par Souriau que seule la philosophie serait à même d’explorer pleinement? L’article cherche à apporter une (...) réponse nuancée à cette question en se penchant à la fois sur des ouvrages philosophiques majeurs de Souriau et sur des articles plus méconnus. Une autre question se pose en conclusion : et si les interactions de l’esthétique et de la philosophie générale de Souriau nous incitaient à repenser la fonction de l’esthétique en lui conférant un rôle expérimental, directement connecté à la construction dramatique de la philosophie sourialienne? (shrink)

This article examines Gilles Deleuze’s 1986 letter to French film critic Serge Daney about cinema, television, and images in control societies through a Benjaminian lens. While neither Deleuze nor Daney deeply engage with Walter Benjamin’s thought, I argue that the ideas or dialectical images constructed by the German thinker are crucial to better understand Deleuze’s and Daney’s thoughts regarding the threatened death of modern cinema in the 1980s because of the predominance of television as a control apparatus. In the first (...) part of the article, I analyze the aesthetical and political meaning of the concept of history as/of perception. I also show affinities between Benjamin’s and Deleuze’s works through their connection to art historian Aloïs Riegl. In the sec- ond part, I demonstrate how Deleuze’s and Daney’s reflections about mannerism as a weapon against the rise of clichés and the ideology of the visible in control societies must be supplemented by Benjamin’s concept of “construction”. In conclusion, I draw on Benjamin’s discussion of politics as a body space to advocate for desiring mannerisms to fight control apparatuses and the reign of clichés. (shrink)

Translator's introduction : At the end of July 2014 there was a week-long workshop held at the Ecole des Mines in Paris, Bruno Latour's former work-place. This was a final workshop, convened by Latour's project, An Inquiry into Modes of Existence, which was not only a book, but a website that was an experiment in interactive metaphysics that had been going on for four years. About 30 participants gathered to workshop and rewrite some key contested areas that had been challenged (...) on the site with discussions and counter-examples. One of the round tables working away during the week, occasionally with changes in personnel, was on Nature. Their job (like the other round tables on Politics, Diplomacy, Religion and Economics) was to ‘reboot’ or reinstitute a concept close to the heart of the Moderns. The assumption was that the traditional concept of nature, as developed through modern European history, would no longer be adequate to a future beset by environmental crises. The main people working on a draft were Didier Debaise, Pablo Jensen, Pierre Montebello, Nicolas Prignot, Isabelle Stengers and Aline Wiame. When they finished the draft, I translated it and it was presented, in French and English, in a final two-day public session at Science Po, to a group of seven international scholars designated as “chargés d'affaires,” or “diplomats from the future” whose job was to assess the results of our labours in terms of how they might be met by Gaia, the ur-representative of future planetary crises. The text, originally under the title of Our “Nature,” was as follows. [Stephen Muecke]. (shrink)

Cet ouvrage a pour objectif d'interroger en profondeur la manière avec laquelle, historiquement, les philosophes ont « pratiqué l'image dans le concept ». Les auteurs s'interrogent sur le recours à la visualité et à la métaphore dans l'élaboration des schèmes philosophiques à travers l'histoire de la philosophie et les rapports que cette dernière entend tisser avec l'histoire du monde. On tâche de cerner les raisons que les philosophes ont pu avoir de mobiliser ou au contraire de rejeter cet opérateur conceptuel, (...) d'assumer sa performativité ou bien de déplorer son caractère résiduel et résistant à toute systématisation de la rationalité. L'ouvrage cherche ainsi à dégager quelques figures centrales du nouage que les philosophes ne cessent d'opérer au sein du chiasme reliant la construction philosophique de l'image et la constitution de la pensée par l'image. Platon, saint Augustin, Descartes, Spinoza, Kant, Fichte, Schelling, Nietzsche, Bergson, Bachelard, Wittgenstein, Fink, Sartre, Merleau-Ponty, Castoriadis, Simondon et Deleuze sont les auteurs privilégiés dans cet ensemble. (shrink)

This article is an edited transcript of the roundtable entitled “What is Philo-Performance?” that took place in Paris on 28 June 2014, within the framework of the “Theatre, Performance, Philosophy International Conference: Crossings and Transfers in Anglo-American Thought”. The conference was organized by Julien Alliot, Flore Garcin-Marrou, Liza Kharoubi and Anna Street from the LAPS, a French research group on performance philosophy.

This article examines the particular way Souriau’s concepts of instauration and modes of existence have been inherited by Bruno Latour in his Inquiry into Modes of Existence. It suggests that Bruno Latour has hacked some key-aspects of Souriau’s general ontology in order to regionalize it and, by doing so, to give the Moderns an accurate depiction of the plurality of beings they hold dear. It then shows how Souriau’s concept of instauration is crucial to Latour’s project of rethinking and repopulating (...) modern institutions, in a gesture aimed at making metaphysics a vital practice that has the power to make the world worth of worrying and caring for. (shrink)

Cet article cherche à réévaluer le rapport de Bruno Latour à la philosophie à travers le motif de la cartographie dans son oeuvre. Si les cartes y constituent d’abord des exemples particulièrement frappants de la production scientifique de vérité, ses derniers écrits suggèrent un rôle beaucoup plus central pour la cartographie. La pensée latourienne, dans le cadre du réchauffement climatique, appelle en effet une philosophie cartographique, basée sur la notion de territoire, et développant à la fois une méthode « ambulatoire (...) » et un projet conceptuel qui consiste à résister à ce que Whitehead appelait la « bifurcation de la nature ».This article seeks to reassess Latour’s relation to philosophy through an examination of the many references to cartography in his work. Whereas in his early writings maps were treated as striking examples of the way science produces truth, his latest writings ascribe a more central function to cartography. During this time of global warming, Latour’s thinking calls for a cartographic philosophy rooted in the notion of territory, which develops both an “ambulatory” method and a conceptual project of resistance to what Whitehead called the “bifurcation of nature”. (shrink)

Inspired by Ursula Le Guin's ‘The Carrier Bag Theory of Fiction’, contemporary feminist writing in the social sciences and the humanities has been characterised by a strong renewal of interest in storytelling, as is evidenced by the works of Anna Tsing and Donna Haraway among others. How can storytelling grow with and beyond its literary origin to become a political and heuristic tool? And how does the Anthropocene – our specific geologic epoch – require the renewal of the means of (...) expression of such an old tool as storytelling, so that it becomes a human and nonhuman process? To answer those questions, Deleuze's and Haraway's takes on ‘fabulation’ are intermingled along three lines: the part played by storytelling in the construction of earthly knowledges, the imbrication of speculation and politics, and the nonhuman dimension of fabulation that allows for the liberation of forces of life repressed by an anthropocentric approach. (shrink)