Gilles Deleuze

Deleuze. Interpretare e tradire

by Fabio Treppiedi

Postfazione a G. Deleuze, Da Cristo alla Borghesia e altri scritti 1945-1957, Mimesis, Milano 2010

Per una genealogia della vita nel tempo che dura: Bergson se faisant

by Alessandra Scotti

published in S&F_ #6 (www.scienzaefilosofia.it)

Nietzsche’s Pharaonic Thought: Hieroglyphic Transduction

by Nandita Biswas Mellamphy (UWO)

Forthcoming in Horst Hutter, ed., Becoming Loyal to the Earth: Ecology and Life-Affirmation in Nietzsche’s Vision -- Nietzsche’s Teaching as a Therapy for Political Culture (London: Continuum Books, 2012).

The folds of a-topia (or a materialist take on Utopia)

by Constantinos Miltiadis

short paper, extended version of a competition entry. The original was written with Demetris Shammas, Vasiliki Nikoloutsou, Isavella Ines Oikonomopoulou and Daphne Oikonomopoulou

The paper tries to construct and oppose a material ontology to utopian or idealistic architectural intentions The paper tries to construct and oppose a material ontology to utopian or idealistic architectural intentions

Gilles Deleuze (1925-1995)

by Fabio Treppiedi

Profilo biografico e critico di Gilles Deleuze, in "Giornale di filosofia", aprile 2010

"Critica dell'assunzione" e "Costruzione metodica". Prospettive sull'empirismo trascendentale di Deleuze

by Fabio Treppiedi

Saggio critico sulle eredità humeane e kantiane di Deleuze , in "Giornale di metafisica", 1/2011

Rethinking Human Nature and the Place of (Wo)Man in the world: Anthropology between Philosophy and Science. A Manifesto

by Giacomo Pezzano

We are knowing more and more about (Wo)Man, but the determination of her/his nature is still problematic: asking «What... more We are knowing more and more about (Wo)Man, but the determination of her/his nature is still problematic: asking «What is (Wo)Man?» is paradoxically possible only in the space left open by (wo)man’s erasure. Whatever human nature is, (wo)man wants to know her/himself, because if (s)he does not know who (s)he is, (s)he can not know where to go: moving from hominitas to humanitas requires a definition of (wo)man’s nature, of her/his «place» in the world, in view of describing ex-istence as a modulation of the «World Openness» and an attempt to find a way of articulate the possibilities, as intrinsically «medial» and «modal» since it is founded on «referral» and «relationship with the outside»

Comunità, immunità, apertura verso l’alterità: una biopolitica affermativa e oltre-umana?

by Giacomo Pezzano

Published in "Trópos. Rivista di ermeneutica e critica filosofica”, IV, 2, 2011, pp. 167-184

Roberto Esposito claims that biopolitics characterizes the entire modernity, and that it is built on the immunity... more Roberto Esposito claims that biopolitics characterizes the entire modernity, and that it is built on the immunity dispositive. Im-munity is the negation of the munus which animates and builds com-munity: inside the immunitarian paradigm, thinking politics and ontology is considering men as ab-solutes beings, without any kind of engagement to each other, inhabited by a vacuum to deny. Esposito believes this means shaping an anthropological paradigm (systematized by philosophical anthropology in the 20th century) in which man is thought to be distinct from the animal since he is capable of denying his own nature and, more generally, his relationship with the world and the other beings – that is, a paradigm in which community has no ‘positive’ place. In order to overcome the immunitarian paradigm, we need to define the outlines of an affirmative biopolitics, a politics ‘of ’ life and not ‘on’ life. This biopolitical shift requires the understanding of the ‘flow of life,’ of its everlasting and unprotected openness: Esposito claims that life is impersonal and intrinsically normative, over-human and perpetually exposed to the ‘outside.’ Finally, this perspective leaves open a crucial question: can over-man exist without man?

The Playces of Parkour

by Robert Finch

Theaterlandscapes - Understanding and Alterity at the Theater an der Ruhr, Germany

by Jonas Leonhard Tinius

published in: (2012) Imponderabilia. Cambridge Student Anthropology Journal (4): 17-21.

In this article, based on research conducted between June and October 2011 at the West German Theater an der Ruhr... more In this article, based on research conducted between June and October 2011 at the West German Theater an der Ruhr (hereafter, TaR), I intend to explore the notion of theater-landscapes, or theatrescapes (‘Theaterlandschaften’) coined by its director Roberto Ciulli and dramatic advisor Helmut Schäfer. What it refers to is the vision that theatre is, on the one hand, always a local (contextual) phenomenon referring to local situations, people and historical circumstances. At the same time, it can establish links between them. People from such diverse contexts can be brought together, on, behind and before the stage, they can speak to each other – indifferent of language, ethnic or religious background. For the TaR, the concept is more than mere recognition of difference; it has brought to the attention of the German and international public the theatre landscapes of a whole nexus of regions, such as Yugoslavia, the Silk Road, Arabia and North Africa and thereby initiated a dialogue not just between theatrical visions, but different ‘styles of life’, projects of artistic self-formation and social engagement. In this essay I argue that their vision of theatrescapes is not only an expansion of the German hermeneutic philosopher H.G. Gadamer’s notion of the fusion of horizons (‘Horizontverschmelzung’, 1960: 310), but also an anthropological quest for the appreciation of difference whilst recognising the commonalities of humankind. Doing so, I seek to point to the enriching implications of theatre for anthropological studies of the way people transform the cultural landscapes they inhabit.

"Seeing Immanent Difference: Lorna Simpson and the Face's Affect"

by Laurie Rodrigues

Published in _Rhizomes_, Issue 23 (April 2012).
Special Issue on Deleuze and Photography. Guest Editor, Michael Kramp.

"Expanding Materially-Instantiated Social & Spatial Relations: Almanac of the Dead as a Reconceptualization of History & Modernity"

by Laurie Rodrigues

My study engages Leslie Marmon Silko’s Almanac of the Dead (1991) with Thomas Edison’s short film, “Sioux Ghost... more My study engages Leslie Marmon Silko’s Almanac of the Dead (1991) with Thomas Edison’s short film, “Sioux Ghost Dance,” from Buffalo Bill’s Wild West Show (c.1894). I will demonstrate how Almanac re-imagines traditional social and spatial arrangements, revealing the historically-specific space of social relations and re-announcing the spatial and temporal proportions of that space. The novel’s re-mapping of the Americas constitutes an alternatively-networked politics of pure antagonism that simultaneously betrays the discord of “coherent” networks and territorially-confined forms of modernity, but also the antagonism that belies the identitarian subject him/herself. This paper elaborates Almanac’s reading of capitalist networks and other Euro-American epistemologies as configuring a logic of stasis. Aligning Edison’s film with moments from the novel, I argue that such spatializations imagine actors within a blank space outside of history, figuring them as static scenery to the progress of modernity. Highlighting the virtual and material entanglement of spatial and social relations, Silko’s Almanac of the Dead asserts that social relations (as material practices) are limited to—and thus refigured by—the spatial formations that they actualize. The novel’s materialist strategy for resistance evades multiculturalism’s politicized and territorially-confined model of identity. Encountered in this manner, I argue that Silko’s novel performs a necessary re-configuration of alternatives to existing, static nationalisms and liberal multicultural identity politics.

"Seeing Immanent Difference: Lorna Simpson and the Face's Affect"

by Laurie Rodrigues

Published in _Rhizomes_, Issue 23 (April 2012).
Special Issue on Deleuze and Photography. Guest Editor, Michael Kramp.

Nietzsche a Wall Street

by daniele balicco

published in "www.leparoleelecose.it"

Nietzsche è stato, insieme a pochi altri pensatori classici, il punto di riferimento filosofico più importante per la... more Nietzsche è stato, insieme a pochi altri pensatori classici, il punto di riferimento filosofico più importante per la cultura teorica del secondo Novecento occidentale. Ma se è vero che i nomi dei filosofi sono poco più che metonimie, dove momentaneamente si cristallizzano e transitano flussi collettivi di pensiero , molto probabilmente non lo è stato per caso. La tradizione interpretativa francese che lo ha progressivamente trasformato in un polo magnetico generatore di vita teorica, di modelli esistenziali, di pratiche estetiche e di radicalismo politico, ha segnato a fondo gli ultimi tre decenni del Novecento e l’atmosfera teorica che ancora respiriamo. Il corpus di queste letture ha costruito un’egemonia. In questo scritto provo a ricostruirne le mosse teoriche fondamentali e la sua successiva metamorfosi statunitense.

Paradox and Critique. Some Thoughts on an Unexpected Affinity between Deleuze and Adorno.

by João Pedro Cachopo

Paper presented at “CONNECTdeleuze: The Second International Deleuze Studies Conference,” Universität zu Köln, Köln, 10-12 August 2009.

Como rasgar o firmamento ? A arte e o “fora” em Deleuze e Adorno [How to tear open the firmament? Art and ‘Outside’ in Deleuze and Adorno]

by João Pedro Cachopo

Published in in “Fora da filosofia", ed. Golgona Anghel and Eduardo Pellejero (Lisbon, CFCUL, 2010), pp. 39-63 [in Portuguese].

A love letter to the Other: Xenophily and radical politics

by Marco Cuevas-Hewitt

Forthcoming. Draft available for viewing.

Opening paragraphs:

"What better way to get myself in the mood to write an essay on love, I figured,... more Opening paragraphs:

"What better way to get myself in the mood to write an essay on love, I figured, than to listen to some of my favourite love songs? The smooth and sensual vocals of Cody Chestnutt’s ‘No One Will’ seem to be doing the trick right now. However, my wish here is not to write of romantic love (at least not exclusively), but of love in a political and ethical, though I would hope no less erotic, sense.

I begin by posing the question of love in relation to the under-examined concept of community. Beyond the ‘community of two’ that is the romantic couple or pair of friends are communities of interest, political persuasion, class, gender, culture, nation, and so on. Implicit in each kind of self-identified community are particular values concerning who it is admissible to associate with, to become friends with, to love.

‘Some of them might be nice people’, conceded the xenophobe to her more immigrant-friendly colleague one evening on my television screen, ‘but it’s not as if I’m going to become friends with them. That’s not how the world works’.

It is scarcely questioned that we should so often be drawn to people in whom we find something of ourselves. Communities have become a veritable extension of the self. Love, meanwhile, becomes reduced to the love of Same."

Ecology and the art of the possible

by Marco Cuevas-Hewitt

Forthcoming. Due for publication in mid-2012. Draft available for viewing.

First paragraph: "Evocative images, wispy like memory, light up the walls of a sunless room in an old colonial... more First paragraph: "Evocative images, wispy like memory, light up the walls of a sunless room in an old colonial era mental asylum turned art gallery. In their glow, an odd array of objects: Time-worn furniture, an antique French stereoscope, a bouquet of native flowers, jars of assorted bush tucker. Binding them are the invisible threads of stories, gathered up and re-woven by artists Tessa Zettel and Karl Khoe of the Sydney-based collective, Makeshift, during their two sojourns in Esperance in the autumn and spring of 2011. The black and white projection at the focal point of the installation conveys an eighteenth century dining scene, seemingly plucked out of Europe and parachuted into the dry salt lake where it was filmed, save for the bloodroot, wattleseed, and other edible native plants comprising the spread. Adding to its curiousness is the artists’ unusual choice to film it as a tableau vivant or ‘living picture’. This now-quaint convention, once popular as a form of entertainment at the soirees of aristocratic elites, involves the presentation of a scene by a silent and motionless cast of characters as if imitating a painting or photograph. The effect achieved by Makeshift is a film reel resembling a slideshow of images from the colonial frontier, eerily still but for the tablecloth flapping in the breeze..."

'There as many paths to the time-image as there are films in the world': Deleuze and The Lizard

by William Brown

Published in David Martin-Jones and William Brown (eds.), Deleuze and Film, Edinburgh: Edinburgh University Press, 2012, pp. 88-103.

This essay argues that the popular but banned Iranian comedy, Marmoulak/The Lizard (Kamal Tabrizi, Iran, 2004)... more This essay argues that the popular but banned Iranian comedy, Marmoulak/The Lizard (Kamal Tabrizi, Iran, 2004) troubles the distinction between Deleuze’s movement- and time-image categories. The essay also compares Deleuze’s work with that of Iranian philosopher Abdolkrim Soroush, arguing that both have in common a philosophy of becoming. Given that The Lizard has been read in the light of Soroush's work, and given that the two philosophers share becoming as a central tenet of their philosophy, the essay suggests that a Deleuzian reading of The Lizard is not inappropriate even though he is, so to speak, from the West and The Lizard is from the Middle East. Indeed, the essay also argues that not only can Deleuze help us to understand The Lizard but that The Lizard can also help us to understand Deleuze - by suggesting, as per a refrain oft-repeated in the film, that there are as many paths to the time-image as there are films in the world.

Introduction: Deleuze's World Tour of Cinema

by William Brown

Co-authored with David Martin-Jones.
Published in David Martin-Jones and William Brown (eds.), Deluze and Film, Edinburgh: Edinburgh University Press, 2012, pp. 1-17.

This essay introduces the edited collection Deleuze and Film, and argues that there are many versions of Deleuze... more This essay introduces the edited collection Deleuze and Film, and argues that there are many versions of Deleuze circulating in film studies.