Cinema is, for Jacques Derrida, at once the “medium,” the “apparatus,” and the “experience” that proffers a historically unprecedented instantiation of the logic of spectrality. Of cinema, Derrida would almost exclusively have spoken, his remarks dispersed in a smattering of (nonetheless significant) interviews or, indeed, films, as though the written word was to withdraw into a rare resistance when it came to matters cinemato‐graphic. As Derrida's reference to two types of writing machine, indicates contemporary “teletechnologies” consisting of machines like the (...) cinema, the camera, TV, and photography, but also the internet, digital imaging, and so on. Derrida's reflections on the photographic image are of particular interest in the present context inasmuch as they persistently come up against the “objections” addressed to deconstruction, as it were, by Roland Barthes's highly influential Camera Lucida. (shrink)

The importance that Deleuze attributes to syntax, as that which tends towards the movement of the concept, along with his analyses of the different ways in which English and French relate to « becoming », form the basis on which this article investigates the question of whether a « theory of translation » can be found in Deleuze’s thought. In this perspective, we examine the intersection between several key concepts in Deleuze’s philosophy and theories of translation dealing with the comparative (...) syntax of English and French. Analysis of the concepts of actualisation, virtual and actual, as used by both Deleuze and comparative syntax theorists, indicates that the internal temporality Deleuze attributes to language would play a critical role in translation. (shrink)

Badiou’s contemporary claim that truth processes can no longer be considered as indifferent to sexual difference is set here in the context of the French philosophical moment of the second half of the twentieth century—a sequence in which the deployment of the category of “the feminine” by Badiou’s philosophical peers precisely entailed a formalization of women’s different relation to “the symbolic.” When compared, in particular, with the philosophy of sexual difference elaborated by Luce Irigaray, Badiou’s intertwining of “woman,” love, and (...) the universal—both before and after his inflexion on the sexuation of truths—is confronted with the systematic counterproposition of alternative conceptual constellations. Might it not, then, be possible that the comparison of Badiou and Irigaray ultimately brings into play something of the order of a demonstration of thought’s sexuation? (shrink)

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.