Qu'est-ce qu'un commentaire philosophique? Le cas offert par Gilles Deleuze dans son commentaire de Leibniz (Le pli) est l'occasion de saisir quelques uns des enjeux de cette pratique essentielle au travail du philosophe. En revivifiant en effet une tradition historiquement datée (Wölfflin), Gilles Deleuze s'est attaché à produire une description originale du système leibnizien. Au-delà des difficultés soulevées par la nature même de son modèle (la notion de baroque), le commentaire de Deleuze se singularise par une conception particulière de (...) la lecture philosophique comme recréation d'une pensée à partir de la description de ses conditions formelles d'existence. (shrink)

Renaissance and Baroque, two terms unknown in the ages they describe, are now an integral part of the general public's cultural vocabulary. The first encompasses European civilization from the mid-fifteenth century to around 1550, and the second refers to developments in the seventeenth century, with the intervening fifty years forming a period of transition termed Mannerism. Beginning with the appearance of Heinrich Wölfflin's Kunst geschichtliche Grundbegriffe in 1915, these two great epochs of intellectual development have been described quite successfully (...) by juxtaposing the one with the other. Wölfffin, for example, saw five great categories of discrimination between the two, namely Linear and Painterly, Plane and Recession, Closed and Open Form (Tectonic and A-tectonic Form), Multiplicity and Unity (Multiple Unity and Unified Unity), and Clearness and Unclearness (Absolute and Relative Clearness). More recently, Wylie Sypher in Four Stages of Renaissance Style has extended the list with the polar characteristics of Cyclic-Broken (Cyclothym-Schizothym), Exact-Abstract (Representational-Nonrepresentational), Visual-Haptic, Nearseeing-Farseeing, Dark-Light, Horizontal/Vertical-Oblique/Spiraling, and Points/Lines-Planes/Volumes. (shrink)

The starting point of this paper is a statement that Benjamin makes in a group of notes he writes for his project of a detective novel. Benjamin writes here that «criminal and detective could be so friends [so befreundet sein] as Sherlock Holmes and Watson». We’ll try to understand the meaning of this statement through the investigation of the detective topic in two moments of its fore and afterlife: its fore life in Benjamin’s meditation on the baroque and its (...) after life in Sherlock Holmes’s most recent apparition, in the BBC series Sherlock. One of the most interesting elements of this series is in fact the relationship – which is barely sketched in Conan Doyle’s stories – between Sherlock Holmes and his antagonist, the maths professor Jim Moriarty. We’ll see that in Benjamin’s notes for a detective novel the criminal is not a maths professor but a psychoanalyst. What is the difference, anyway, between professor Moriarty’s knowledge and Sherlock’s knowledge? In fact, we will find out that criminal and detective are closer to one other than what we may be induced to think – close but not coincident. (shrink)

The spiritual torsion and material complexity so characteristic of Baroque aesthetics is something that extends to (or perhaps, better, issues from) the intension of the term itself. This much is evident in the sense that, since the twentieth century, various projects have proposed such notions as a medical-baroque, a postcolonial-baroque, and a digital-baroque. Beyond any given object of analysis, then, in this way the Baroque adduces the concepts by which any inquiry into objects might take (...) place. As such, the Baroque can be said to be that which signals the ongoing relation of thought to the world, of ‘the inside’ to ‘the outside’ (while at the same time problematising the priority of either side over the other). Indeed, following certain post-Kantian readings of Leibnizian philosophy, the Baroque is to be regarded not so much as something to be understood but rather as a frenzied development of the understanding itself. (shrink)

Current attempts by historians of science to revise the narrative of the Scientific Revolution by using the concept of the Baroque have important implications for art history. Correspondences between baroque art and baroque science gain new complexity when the rational, epistemologically optimistic image of the New Science is put in doubt. Rather than a method of objective observation, early seventeenth‐century science and art share an acceptance of the constructed nature of reality, of human epistemological limitations and of (...) the role of passions in the observation of the world. While Caravaggio has revolutionised art precisely through his interest in questions of knowledge and sensorial perception and by his subversive transformation of Renaissance epistemological values and ideals, this article concentrates on the work of Jusepe de Ribera, who made the senses and their shortcomings a major theme of his pictorial research. Ribera's epistemology is examined in the context of contemporary Neapolitan philosophy and science. Through the confrontation of some of the Spagnoletto's paintings with the work of figures such as Giovanni Battista della Porta, Federico Cesi and particularly Colantonio Stigliola, it becomes clear that early modern Neapolitan faith in rational knowledge was more ambiguous than is sometimes assumed. (shrink)

Noir -- House -- Train -- Dead -- Ipseity -- Habeas corpus.

. Time, baroque codes and canonization. Cultural Values: Vol. 2, No. 2-3, pp. 403-420.

Seventeenth-century optics naturalizes the eye while estranging the mind from objects. A mere screen, on which rests a blurry array of light stains, the eye no longer furnishes the observer with genuine re-presentations of visible objects. The intellect is thus compelled to decipher flat images of no inherent epistemic value, accidental effects of a purely causal process, as vague, reversed reflections of wholly independent objects. Reflecting on and trespassing the boundaries between natural and artificial, orderly and disorderly, this optical paradox (...) is a Baroque phenomenon; and it is the origin of Descartes’ celebrated doubt---whether we know anything at all. (shrink)

Exposé présenté lors de la journée d'études CRAL-EHESS par Christophe Corbier, Marielle Macé et Esteban Buch, « Histoire du rythme, histoire des rythmes » – Paris – 12 décembre 2014. - Philosophie – Nouvel article.

​This book, itself a study of two books on the Baroque, proposes a pair of related theses: one interpretive, the other argumentative. The first, enveloped in the second, holds that the significance of allegory Gilles Deleuze recognized in Walter Benjamin’s 1928 monograph on seventeenth century drama is itself attested in key aspects of Kantian, Leibnizian, and Platonic philosophy. The second, enveloping the first, is a literalist claim about predication itself – namely, that the aesthetics of agitation and hallucination so (...) emblematic of the Baroque sensibility adduces an avowedly metaphysical ‘naturalism’ in which thought is replete with predicates. Oriented by Barbara Cassin’s development of the concerted sense in which homonyms are critically distinct from synonyms, the philosophical claim here is that ‘the Baroque’ names the intervallic [διαστηματική] relation that thought establishes between things. On this account, any subject finds its unity in a concerted state of disquiet – a state-rempli in which, phenomenologically speaking, experience comprises as much seeing as reading. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Neo-Baroque Aesthetics and Contemporary EntertainmentTheodore GracykNeo-Baroque Aesthetics and Contemporary Entertainment, by Angela Ndalianis. Cambridge, MA, and London: MIT Press, 2004, 323 pp., $34.95 cloth.Like the cliché about not judging a book by its cover, the prominence of the term "aesthetics" in a book's title is no indication of what one will find inside. Has the term become so elastic that it will now cover everything cultural? (...) Or is it the case, as in Angela Ndalianis's discussions of theme park rides and computer games, that the term applies to anything that has a parallel in earlier practices covered by this rubric? Ndalianis may be stretching it too far, for the book in question emphasizes parallels with baroque practices that predate Alexander Baumgarten's 1735 proposal to use "aesthetics" as the name of an emerging discipline concerned [End Page 115] with perception. We are alternately informed that the book explores the poetics, semiotics, and the "logic of contemporary media." But because Ndalianis holds that recent visual media involve a "specific system of perception" that arises from a "radical cultural transformation" (22-23), the term "aesthetics" may be as good as any other in conveying her purposes. For she is not concerned with artistic style—presumably the province of art historians. She is theorizing broadly about visual media by examining an assortment of media strategies found in the two eras and aims to identify their common "morphology" (19). Her sources are Fredric Jameson, Walter Benjamin, and Gilles Deleuze rather than, say, Kendall Walton, Noël Carroll, or Gregory Currie.Ndalianis's main idea is that there is a strong but not exact parallel between our own times and the visual forms favored in the seventeenth century. (For Ndalianis, the baroque period stretches from 1492 to the 1680s.) The two epochs involve similar cultural sensibilities and artistic practices, so if we understand baroque art and visual media, we will better understand what is going on in contemporary media. In short, the framing assumption is Shelley's dictum that art is the expression of the spirit of its time. More specifically, the design of modern entertainment media is argued to be very similar to a wide range of baroque entertainment and representational practice. But the similarity is not due to either awareness or imitation of baroque style. Each "logically emerged as a result of systemic and cultural transformations" peculiar to its own time (17). The similar "logic" of each period is thus seen as evidence that there are parallels in the "general tendencies" and consequent "dominant cultural sensibilities" of the two periods (17-21). Because hindsight is more reliable than precognition, a backward glance at the baroque may help us to better grasp our own historical and cultural context.Having outlined these proposals in a lengthy introduction, Ndalianis offers five chapters, each devoted to a specific parallel. All five chapters share a similar strategy. A different aspect of neo-baroque communication is highlighted, and one type of baroque art or entertainment is compared and contrasted with its neo-baroque counterpart, with at least one neo-baroque example explored in considerable detail.The introduction focuses on Jurassic Park (both the film and the theme park ride). Chapter 1 focuses on neo-baroque "narrative strategies," as first Don Quixote and its sequel and then the palace at Versailles are compared to the various Alien films and comic books. The main focus is "serial" art as an outgrowth of capitalism, generating "an aesthetics of repetition" enriched by its "rampant self-reflexivity" (69). Chapter 2 shifts to the baroque love of labyrinthine structure, with its "enforced circuitousness, planned chaos, choice among paths, intricacy, complexity, and an invitation to the audience to engage reflexively" in exploring the labyrinth (84). Ndalianis's baroque case is Pietro de Cortona's elaborate painted ceiling for the Palazzo Barberini in Rome. The neo-baroque counterpart is the Doom video game and its sequel, Doom II. Inexplicably, for a book with numerous illustrations, there are no visuals to display Doom for those unfamiliar with such games. Chapter 3 examines baroque cartography as a background for discussing geographic discovery and colonization, leading to the neo-baroque... (shrink)

A leading young Italian semiologist scrutinizes today's cultural phenomena and finds the prevailing taste to be "neo-baroque"--characterized by an appetite for virtuosity, frantic rhythms, instability, poly-dimensionality, and change. Omar Calabrese locates a "sign of the times" in an amazing variety of literary, philosophical, artistic, musical, and architectural forms, from the Venice Biennale through the "new science" to television series, video games, and "zapping" with the remote control device from channel to channel! Calabrese admits that he begins the book with (...) a refusal to distinguish between "Donald Duck and Dante." Avoiding hierarchies or ghettos among works, he takes his readers on a fast-paced expedition through contemporary culture that closes with an elegant essay on evaluation and classical form. According to Calabrese, the enormous quantity of narrative now being produced has led to a new situation: everything has already been said, and everything has already been written. The only way of avoiding saturation has been to turn to a poetics of repetition. The author shows that pleasure in texts is now produced by tiny variations, and a certain kind of citation from other works has taken on a central importance that would have been unthinkable only a few years ago. In describing this development, and others shared by both avant-garde and mass media, he makes us aware of the rapid shrinkage in the once ample space between "highbrow" and "lowbrow." Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

In the year 1714, Johann Christian Lange published a baroque textbook about a logic machine, supposed to simulate human cognitive abilities such as perception, judgement, and reasoning. From today’s perspective, it can be argued that this blueprint is based on an inference engine applied to a strict ontology which serves as a knowledge base. In this paper, I will first introduce Lange’s approach in the period of baroque logic and then present a diagrammatic modernization of Lange’s principles, entitled (...) Calculus CL. Finally, I would like to discuss the possibilities of how to apply CL to modern cases of concern by using an example from epidemiology. (shrink)

This book collects six unpublished and published academic studies on the thought of Francisco Suárez, which is addressed through accurate textual analyses and meticulous contextualization of his doctrines in the Scholastic debate. The present essays aim to portray two complementary aspects coexisting in the work of the Uncommon Doctor: his innovative approach and his adherence to the tradition. To this scope, they focus on some pivotal, but often neglected, topics in Suárez’s metaphysics and psychology – such as his theories of (...) cognition and truth, angelology, continuous quantity – thereby developing an original inquiry into a crucial moment in the development of Western philosophy. (shrink)

Until recently Francisco Suárez (1548–1617) has been regarded as the “last medieval philosopher,” representing the end of the philosophically respectful scholastic tradition going back to the Early Middle Ages. In fact, however, Suárez stood at the beginning, rather than at the end, of a distinguished scholastic culture, which should best be labeled “Baroque scholasticism,” and which flourished throughout the seventeenth and early eighteenth centuries. In this paper I offer some ideas on why the study of this philosophical culture has (...) been so far neglected by the mainstream Anglo-American philosophical historiography and argue that more attention should be paid to it. (shrink)

The philosopher of that time, whatever his inclination for physics or astronomy, is not comparable to our modern-day scientific expert: he remains a hybrid individual, uniting in a single person elements that can today appear heterogeneous.

The philosopher of that time, whatever his inclination for physics or astronomy, is not comparable to our modern-day scientific expert: he remains a hybrid individual, uniting in a single person elements that can today appear heterogeneous.

law's oscillation between power and meaning -- Law's screen life : visualizing law in practice -- Images run riot : law on the landscape of the neo-baroque -- Theorizing the visual sublime : law's legitimation reconsidered -- The digital challenge : command and control culture and the ethical sublime -- Conclusion : visualizing law as integral rhetoric : harmonizing the ethical and the aesthetic.

In The Fold Deleuze proposes a new and radical way of understanding philosophy and art.

This paper is an attempt to argue that there existed a very prominent view of signs and signification in late sixteenth- and seventeenth-century Europe which can help us to understand several puzzling aspects of baroque culture. This view, called here "pansemioticism," constituted a fundamental part of the baroque conception of the world. After sketching the content and importance of pansemioticism, I will show how it can help us to understand the (from a modern perspective) rather puzzling concept of (...) the polymath, or polyhistor, which constituted the ideal of the baroque scientist. In this context I will also discuss a seventeenth century phenomenon essentially connected with polyhistorism, namely that of the early modem polyhistorical collections, the Wunderkamnmern. Since such a study needs a clearly determined focal point, we will concentrate on the last three quarters of the seventeenth century and will mainly discuss works by German authors of the time. (shrink)

Introduction. Flesh and its reversibility ; Defining the baroque ; 'Good looking' ; A cinema of baroque flesh -- 1. Flesh, cinema and the baroque : the aesthetics of reversibility. Baroque vision and painting the flesh ; Baroque flesh ; Analogous embodiments : the film's body ; Baroque vision and cinema ; Summation : face to face-feeling baroque deixis -- 2. Knots of sensation : co-extensive space and a cinema of the passions. Synaesthesia, (...) phenomenology, and the senses ; Cinesthesia and the Bel composto ; A passionate baroque : emotion, excess, and co-extensive space ; Assault and absorption : cruel baroque ; Summation : beside oneself -- 3. Baroque skin/semiotics. Chiasm : language and experience ; Baroque poetic language and the seventeenth-century infinite ; Baroque luxury ; Skin-deep : baroque texturology ; Tickles : baroque wit ; Summation : cine-mimesis -- 4. One hand films the other : baroque haptics. Touching-touched ; Haptic visuality and the baroque ; Baroque haptics and cinema ; Analogical assemblages : Baroque databases ; Summation: TEXXTURE -- Conclusion : or the baroque 'Beauty of the act'. (shrink)