Giles Deleuze

Министерство образования и науки Украины Полтавский национальный технический университет имени Юрия Кондратюка Министерство образования и науки Украины Днепровский национальный университет имени Олеся Гончара Квалификационная научная работа на правах рукописи Константинов Михаил Владимирович УДК 165.75(091) ДИССЕРТАЦИЯ Ю. ЛОТМАН И ВИЗУАЛЬНАЯ СЕМИОТИКА ВТОРОЙ ПОЛОВИНЫ ХХ ВЕКА (ИСТОРИКО-ФИЛОСОФСКИЙ АНАЛИЗ) Специальность: 09.00.05-история философии Отрасль знаний: Философские науки Подается на соискание ученой степени кандидата философских наук Диссертация содержит результаты собственных исследований. Использование идей, результатов и текстов других авторов имеют ссылки на соответствующие источники __________________ (М.В.Константинов) Научный руководитель Аляев Геннадий Евгеньевич, профессор, доктор философских наук ПОЛТАВА 2017

With researchers funnelled into lucrative research practices that value fast scholarship, we explore ethical practice as an ethico-onto-epistemological project. Through collective biography, diffractive choreography, and poetry, we map systems of entrapment that manifest power relations in the academy. We argue the posthumanist ethical practice is an intra-active project in higher education – involving rich material, social, political and intellectual entanglements. Posthumanist ethical practice rejects dualisms of body/mind, nature/culture and human/non-human. It evokes creativity to generate new vocabularies for challenging anthropocentric ‘exceptionalism’. Mapping relations in posthuman assemblages can involve agential cuts that evoke ethical practice as affective encounters. Agential cuts give permission for pedagogic storying where there is ontological connectedness. As academics, we are immersed in assemblages where posthumanist education research and practice is a rich, embodied, and connected process. Particular consideration is given in this article to affectivity and the value of pedagogic performance in education research.

The analogy of being was introduced by Aristotle, and later thematised by Thomas Aquinas, as a special mode of grammar in which one term may signify two or more meanings, but in which each of the signified meanings derives its primary meaning by participating in one common meaning. The analogy of being thus decisively presupposes this metaphysic of participation. But this very pillar of participation is also the principal source of the aporia of analogy. In the Science of Logic, Hegel outlined how the quantitative ratio and the syllogism of analogy may be successively sublated into the Idea in what I call a ‘speculative analogy’. When Erich Przywara later re-formulated the analogy of being at the apogee of phenomenology, he implicitly opposed Schelling’s rhythmically oscillating opposition of contraries to Hegel’s sublation of contradictions. This conflict over contradiction has produced two competing models of analogy: Hegel’s analogical dialectics in which contradictory differences are meant to be sublated into the ‘absolute middle’ of the Idea; and Przywara’s dialectical analogy in which contrary opposites are meant to participate in the mysterious ‘suspended middle’ of God. Przywara criticizes Hegel for evacuating the mystery into concepts, but Hegel might respond by criticizing Przywara for withholding these mysteries beyond the concept. This comparison illustrates how Hegel’s Science of Logic cannot adequately resolve all contrary opposites in a speculative analogy unless the middle terms the syllogisms are re-read against the letter of Hegel’s text as the absolute middle of Christ in the Trinity.

Understand the nature of locality during the digital age is becoming increasingly complex. This thesis have the purpose, by the analysis of Arjun Appadurai's work in Modernity at Large (1996) and The Future as Cultural Fact (2013), to show this concept in its complexity. The intention is to demonstrate how Appadurai went beyond the mere critic of the notion of locality preserved by  the common sense and the national state, showing the central role played by the imagination in the production of locality. The use of the imagination in the social pratice is a consequence of the postmodern condition and the progressive cancellation of the borders between images and reality, as described in authors such as James Cliford and Walter Benjamin. I will show how Appadurai, as Giles Deluze, tried to see in the Deterritorialized condition of contemporaneity new expressive potentialities that will act not just inside locality, but in the production of locality itself, confronting with some critic voices such as Benedict Anderson's Imagined Communities (1983)

In her essay "In Free Fall: A Thought Experiment on Verticality," artist and theorist Hito Steyerl traces the historical shift in visual perspective from the linear to the vertical throughout the last century.  Vertical perspective, she argues, is a view from above that exacerbates the distance between subject and object and, thereby, turns perspective into a "one-way gaze of superiors onto inferiors, a looking down from high to low." Steyerl analyzes paintings and new technologies that, she argues, are central to the acceleration of the predominance of vertical perspective.  Using Steyerl's proposition as a point of departure, I argue that a reorientation from vertical perspective to immersive perception can help shift the political, ethical, and social values of our time.  I am interested particularly in immersive forms of perception as achieved through contemporary, participatory artworks that empower horizontal, democratic systems as well as the production of subjectivity.  Blurring the boundaries between art and life, these artworks facilitate an environment in which traditional roles of immobile and observational spectatorship are exchanged for activated, rhizomatic forms of thinking.  This immersive form of perception offers a position of resistance to the damaging perspective of verticality.  Through multisensory perception and multi-perspectival viewpoints, immersive perception effectively eliminates the dichotomies of perspective: up/down, inside/out, subject/object.  In this thesis, I argue that participatory artworks should be reconsidered as models of resistance to the damaging, predominant perspective of verticality and contend that they have the power to create possibilities for plurality, collective power, and community.

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Bu çalışmada adı öncelikli olarak “güzel” ile anılan estetiğin, aslında sakar, çirkin, ucube, başka dünyalı ve henüz olmayanı da içine alan geniş kapsamlı bir duyumsal kategori olduğu görüşü sanat tarihinden örnekler verilerek savunulacaktır. Güzel sanatlar mefhumunun ortaya çıkışından yüzyıllar önce ilk insanların Lascaux mağarasında yaptıkları duvar resimlerinin büyüsel niteliği hakkındaki iddialar düşünüldüğünde sanatın yok’la ilişkisinin çağdaş sanat ve performans sanatından çok daha eskiye dayandığı öne sürülebilir. İncelememizde “yok” kavramı ile kastedilen Aristotelesçi anlamda Var’ın tersi değil; çokluğun tutarsız hali (inconsistent multiplicities) olarak da düşünebileceğimiz “var gibi”, “olmak üzere olan” ya da henüz olmayandır. Felsefe tarihinde sanatçıya yüklenen bir kara leke gibi görünen “insanları hakikatten uzaklaştırıp fantasmalarla oyalama” suçlaması şeklinde yeniden formüle edebileceğimiz Platoncu tavra karşı, henüz olmayanın ve çokluğun estetiğini savunmamızdaki amaç sanatın dünyayı sevmek ve dünyada/lı olmak için insana sunduğu imkânın vurgulanmasıdır. Platon’un İdealar kuramına göre duyumsanabilir dünya asılların (formların) kopyalarından oluşmaktadır. Sanatçının bu dünyaya eklediği estetik nesneler ise kopyaların kopyaları olmaları bakımından gerçeklikten büsbütün uzak kalmıştır. Deneycilikle birlikte duyumsanan dünya ile deney öncesi nesne arasındaki ilişki bambaşka biçimde yorumlanmıştır. Bu yaklaşıma göre şeylerin hakikati artık hakkında konuşulamayacak bir kategoriye dönüşürken deneyimimizin nesnesi olan dünya ise bütünüyle insan anlağının dolayımıyla kavranır hale gelir. Başka türlü ifade edilirse sanat nesnesi artık dış dünyada var olmayan bir zihinsel nesne halini alır; çünkü algılayan insana göre dünya ancak kendi deneyiminden ibarettir. Sanat açısından deneyciliğin olası bir sonucu algılayan zihinlerin sayısı kadar çok duyumsamanın varlığının yani özneler çokluğun onanması anlamına gelir. İkinci aşama ise çokluğun ontolojik anlamda öznenin dolayımından kurtarılmasıdır. Nietzsche’ye göre duyumsanabilir dünyaya bir değer atfeden insan olsa da artık sanata anlam yüklemek için mutlak bir hakikate ihtiyacımız kalmamıştır. Öte yandan, Nietzsche ile başlayan bu açılımın son aşaması estetik nesnenin “oluş” ve “henüz olmayan” ya da “olmak üzere olan” kavramları ile anlaşılacağı çağdaş Fransız felsefesinde filizlenir. Deleuze’e göre sanat artık özü aşkına ya da Özne’ye dayanan bir temsil aygıtı değil birey(sel) olmayan tekilliklerin duyumsama yığınları şeklinde duyumsayan bedenlerle iç içe geçtiği bir düşünme biçimidir. Buna göre sanat eseri “işaret edilemeyene” ya da “henüz gerçekleşmemiş olana” dönüşürken yok’un ve çok’un estetiği ile kastedilen, nesnesi ve öznesi olmayan bir düşünüş olarak sanat hakkındaki uslamlamadır.

A analysis of the role of grief in Ophuls's films, especially Letter from an Unknown Woman, in homage to Miriam Hansen and Thierry Kuntzel. References to Marcel Ophuls, Truffaut's The Green  Room, Raymond Bellour on Ophuls, Lesvesque, Derrida, and Benjamin.

This paper provides the framework for analyzing certain musical foundations through the philosophies for deconstruction and difference of Jacques Derrida and Gilles Deleuze. First, Derrida’s différance is established and understood from a musical standpoint: creating meaning in non-programmatic settings through parametric relationships. The musical parameters are discussed as individuals and it becomes clear that none can survive without the others or their histories and subjectivities. Then, deconstruction becomes a factor in the compositional process and some of my own music is discussed in this light. The effect is one of (dis)organizing music to the point of engagement with the multiplicities of all parties involved (composers, performers, listeners). Finally, the case is made for imbuing Deleuze’s rhizomatic thought into musical construction. What does it mean to compose music ‘horizontally’?

As a Fantasy text and therefore unconstrained by the demand for ʻreality’, China Mieville's Perdido Street Station is situated so as to be able to literally interrogate Deleuzeʼs notion of being "trapped in the dream of the Other". This paper explores how Miévilleʼs novel does not simply represent the Deluzian idea through the soliloquies of Yagharek, who is not sure if he is dreaming the world into existence or if he is intruding on anOther’s dream of it, but also attempts to simulate it by making the reader aware that her position is analogous to Yagharek's. Perdio Street Station, in other words, suggests that all readers of Fantasy literature are somehow trapped in the dream of the Other.

In the introduction to his 2007 essay After Finitude, Quentin Meillassoux calls for the rehabilitation of primary and secondary qualities. Modern philosophy he claims has lost touch with the absolute and the hold of correlationism is complete. The following essay seeks to respond to this claim by turning to a Kantian aesthetic tradition. In the work of Giles Deleuze it finds the possibility of an aesthetics that could be understood as primary in nature, primary in the sense that they would establish precisely what correlationism denies, a relation to the absolute. In one of the last works published by Deleuze – his 1992 postscript to the work of Samuel Beckett, “The Exhausted” – he describes an encounter with an image precisely in these terms, as a moment in which the absolute becomes manifest. This image is not something we can see. It is not an image for us. Neither is it an image for the protagonist of …but the clouds… to whom, it nevertheless appears. Instead, Deleuze describes the image as a “movement in the world of the mind”. What this statement means, how it might demonstrate the “superior empiricism” at the heart of Deleuze’s thought and how it might reveal a speculative realism that takes place there, are just some of the questions this essay seeks to answer.

The position of women in the society, a system bound by patriarchal practices, has been secondary since ancient times. Although the scenario today is not quite the same and women are starting to find their stand equal to men, but the fact cannot be neglected that the concern persists even today and has a long way towards resolution. Deleuze’s concept of ‘becoming’ becomes the ideal scheme for discussing this issue in the light of the 21st century. This essay attempts to analyse the concept of ‘becoming’ with reference to Jane Austen’s novel Pride & Prejudice. Set in the Georgian era, when women were considered to be secondary and as props to men with marriage to a wealthy man being the first priority, this book forms the ideal tool to initiate a debate centering around the concept of ‘becoming-woman’. Becoming-woman like any other becoming is a transition of a body from one state to another, it is the passage between this transition characterized by dualism.

More than thirty years after Rosalind Krauss published her critique of originality in the October journal, the pursuit of a workable concept of genius might seem like a pointless task. Genius, despite its continual art market appeal has no place in the discussion of contemporary, or even historic art making, where it is rightly rejected as an obsolete concept belonging to a different time. Kant wrote about genius, as did Modernists such as Fry or Greenberg – whereas, we are all post-Kantian now.

No one in the art world today believes in the concept Rosalind Krauss exposed as myth. She argues that the avant-garde’s search for originality had a meaning other than the revolt against tradition or the rejection of the past with which it is synonymous. Originality here stands for origin, new beginning and birth. It is embodied in the figure of the genius, where absolute origin is identified with the artist’s self, uncontaminated by tradition and capable of continual regeneration. Yet, if one looks at the example of the grid, the actual practice of avant-garde art shows that the concept of originality emerges from the ground of recurrence and repetition. Artist after artist seems to have fallen for the same structural properties, mistaking the grid’s opaqueness, purity and silence for the promise of a new beginning. Paradoxically, originality is enacted in the creation of a structure that can only be repeated, more so, a
structure which is riven by processes of representation from within.

In light of Krauss’s critique, the current work of one of GiG Munich’s exhibiting artists, Tim Bennett, is intriguing, even troubling.  For at his recent exhibition at Jo van de Loo, “Me-is-----ter” (a play on the German word, Meister, master) he seemed more than happy to repeat the avant-garde’s mistakes. His paintings were made by pouring tinted plaster through gypsum board in a manner that recalled Jackson Pollock at the height of his fame. These were accompanied by three abstract sculptures consisting of equal sized marble blocks, chipped away in best modernist fashion, the broken pieces saved and reassembled at the top, some painted in bright pastel colours. Both the work and the title evoked the concept of genius, indulging in its familiar narrative. Bennett’s manner of working – craftsman-like and matter of fact – only heighted this impression.

Using Tim Bennett’s exhibition as a starting point, this paper re-examines the narrative of genius, taking into account, on the one hand, Krauss’s critique of originality, on the other hand, Giles Deleuze reading of Kant’s Critique of Judgment from a genetic perspective, “The Idea of Genesis in Kant’s Esthetics.” Since the publishing of Krauss’ essay, genius has been equated with the originality of the avant-garde, the dismissal of one necessarily entailing the dismissal of the other.  By making genius a spokesperson for the principle of genesis, Deleuze reconfigures Krauss’s binary coupling of originality and repetition, in favour of the productive indeterminacy that is one of the topics of the current conference. Central to my argument is his definition of genetic principle as the free and indeterminate accord between imagination and understanding that comes prior to any further legislation by the faculties. The paper discusses how such a revised notion of indeterminate genesis impacts our understanding of contemporary art.

This thesis focuses on the regulation of the energy industry, using the effective health and safety regulation of the energy industry in the United Kingdom as a benchmark for effective regulation of the Nigerian energy industry’s health and safety regime which is crisis and accident-prone because it is riddled with corruption, lack of government capacity and non-transparency at all levels of the governmental agencies charged with regulatory matters.

DECISION
An excerpt from my short story, Inception. Here protagonists David and Lisel explore a new form of dialogue that addresses the invisible, living reality that “lies below” and “within” our current surface reality. This living reality may be called the “implicate order” (David Bohm), the “rhizome” (Giles de Leuze), the objective psyche—the Coming Guest (C G. Jung), or, as I say in this essay, the Interlocutor.

This paper responds to the frequently occurring phenomena of ‘sad affects’ experienced by student teachers as they confront the logic of ‘proper mathematics’ with young children of differently abled bodies. The notion of ‘proper’ entails a normalizing fixity of ‘what counts’ as mathematics for certain children and fails to recognize mathematics as a sensual encounter amongst bodies. The study draws upon Spinoza’s notion of affect to consider the body’s capacity to act, and makes the case for choreographing with body-movement, rather than disclosing, the politics involved in becoming teachers. It discusses how affective bodying with mathematics, children and difference in the classroom practice can be not only deconstructed but also reconstructed in affirmative terms, choreographically, as feeling and thinking-in-movement in ways that trouble and perturb the prevailing sharing of the ‘sensible’ in early childhood mathematics and in teacher education.

Cet article déploie une réflexion épistémologique sur la littérature, l’éthique et la philosophie ainsi que sur la littérature en tant qu’incommunicabilité. Alors que la critique éthique a gagné de plus en plus d’intérêt depuis les années 1990, les liens historiques et théoriques entre la philosophie et l’éthique en tant que discours de la raison humaine et du progrès n’ont pas été examinés en profondeur. Pourtant, ils tendent à montrer que les deux discours subordonnent la littérature à leurs propres présupposés, faisant ainsi de la littérature un simple réceptacle pour leurs revendications et messages.

RESUMEN El artículo examina cómo la filosofía de la diferencia de Gilles Deleuze brinda respaldo a la teoría de sistemas de Niklas Luhmann. La complementariedad o convergencia entre los dos autores se explora a través del concepto de problema. Deleuze ofrece un rico análisis de los problemas, no como deficiencias o insuficiencias, sino como multiplicidades y atractores virtuales. El objetivo no es encontrar formas de suprimir problemas, sino describir cómo estos actúan como agentes causales dando lugar a soluciones diferentes. La comprensión de Deleuze de los problemas se conecta con las nociones de Luhmann del análisis funcional (como método comparativo). ABSTRACT The article examines how Gilles Deleuze's philosophy of difference provides support for Niklas Luhmann's systems theory. The complementarity between the two authors is explored through the concept of problem. Deleuze offers a rich analysis of problems not as shortcomings or inadequacies, but as multiplicities and virtual attractors. The goal is not to find ways for erasing problems, but to describe how they act as causal agents giving birth to different solutions. Deleuze's understanding of problems connects with Luhmann's notions of functional analysis (as comparative method). INTRODUCCIÓN En este artículo, se muestra cómo ciertos aspectos de las obras del filósofo francés Gilles Deleuze proporcionan apoyo estratégico a la teoría de sistemas del sociólogo alemán Niklas Luhmann. Deleuze y Luhmann han sido comparados en el tema del poder (Pottage 1998), post-ontología (Lehmann 2004) y autopoiesis (Philippopoulos-Mihalopoulos 2013). El interés del presente artículo radica en el tratamiento teórico de los problemas. Para ambos pensadores los problemas no se enmarcan en términos morales, como algo malo o incorrecto que preferiblemente deberíamos evitar o idealmente corregir, sino que son asumidos en

Henrik Palmer Olsen and Stuart Toddington argue that the law is logically connected to moral rationality through the determinate commitments – to respect the freedom and well-being of other agents - of Gewirth’s Principle of Generic Consistency (PGC). Although they effectively demonstrate that such a connection exists, we lack a concise explanation of the ambit for the PGC to direct the law. This paper seeks to ask whether the true value of Olsen and Toddington’s Legal Idealism is in its applicability to micro- and macro-legal change; that is, in its ability to call for both evolution and revolution of institutionalised reasoning and the institution itself. In developing this idea I draw on influences such as the social media series by Russell Brand ‘The Trews’, elements of post-structural theory of Deleuze and socially constructed narratives. Ultimately, I claim that the malleability of a legal system which is premised on an incorporation of the commitments of the PGC – much like Beyleveld and Brownsword’s ‘Gewirthia’ – allows that system to self-transform, reimagine and evolve. Meanwhile, incorporating the PGC into a legal system unbound by its commitments would allow for a revolution of the jurisprudential thought surrounding such an institution.