Diagrammatic Actualism
This paper is on Deleuze's
Diagrammatic Actualism, and discusses two versions of Deleuze that
struggle for pre-eminence within Deleuzianism. One is that of the
Virtual and the Concept - the other is of the Actual and The Diagram.
Naturally, when it comes to Deleuze, such tendencies are always
intertwined, but we still need to establish whether the Virtual and the
Concept deserve the ontological priority they have hitherto received
within Deleuzian scholarship. Perhaps the Actual can be retrieved from
its currently derivative status when its ontology is understood
diagrammatically. This paper is a first attempt at such a retrieval by
looking at the way diagrams work both conceptually and
phenomenologically in Deleuze's work as well as philosophy in general.
http://www.eri.mmu.ac.uk/deleuze/journaljanuary06_2.php
http://www.streaming.mmu.ac.uk/eri/del ··· rkey.wmv
In Difference and Repetition, the third synthesis of time is the privileged locus for an apocalyptic individuation whereby, in a striking inversion of Heidegger, the future 'ungrounds' the past and death become the subject of a time that splits the Self. For Deleuze, contra Heidegger, time, like death, is never 'mine': it is no-one's. The affirmation of eternal recurrence effects a mode of psychis individuation which transforms throught into sign of impersonal death.
http://www.streaming.mmu.ac.uk/eri/deleuze/brassier.wmv
This paper uses Gilles Deleuze’s philosophical approach to cinema to explore how certain contemporary films use unusual narrative time schemes to negotiate national identity at times of crisis or transformation. Deleuze’s categories of movement-image and time-image are often considered separate entities, illustrative of an epistemic shift that occurred after WWII. However, here the movement- and time-image are reconsidered as extreme poles of the same phenomenon. This reading of Deleuze’s work explains the existence of a number of recent films that contain aspects of both movement- and time-image, and use them to examine changes to national identity. Two contrasting examples of such films are discussed in depth, Sliding Doors (UK/US, 1997) and Peppermint Candy (South Korea, 2000), to illustrate the global applicability of this reading of Deleuze’s work.
http://www.streaming.mmu.ac.uk/eri/del ··· aper.wmv
The Production of the New
In this paper I introduce the collection of essays edited by Stephen Zepke and myself on Deleuze, Guattari and the Production of the New. I then go on to present a series of theses about the new – in relation to art and subjectivity – and, perhaps more importantly, offer up some questions, or doubts, in relation to these points and capitalism’s own intoxication with, and utilisation of, the new. My guiding problem here is the identification of that which constitutes a genuine event within art and life. This means that the paper is also involved in puzzling through some issues to do with time and temporality. I attempt to do all this through recourse to Deleuze’s precursors (especially Bergson and Spinoza) and, we might say, to his fellow travellers (especially the late Foucault and Negri), that is, specifically not through what Deleuze himself has to say on the matter.
Simon O'Sullivan, Goldsmiths College, University of London, U.K.
Simon O'Sullivan is lecturer in art history/visual culture in the department of Visual Cultures at Goldsmiths College, University of London. He has published widely on aesthetics and modern and contemporary art, with specific reference to Deleuze and Guattari, in journals such as Angelaki, Pli: Warwick Journal of Philosophy, Journal of the British Society of Phenomenology, Parallax and Afterall. He also writes catalogue essays, and is involved in collaborative art practice, with David Burrows, under the name Plastique Fantastique.
공통도시, 다중의 로두스
