All 44 entries tagged Deleuze

View all 78 entries tagged Deleuze on Warwick Blogs | View entries tagged Deleuze at Technorati | There are no images tagged Deleuze on this blog

March 12, 2005

Rhythm, in chaosmosis

Follow-up to Expression, content, assymetrical synthesis of the sensible from Transversality - Robert O'Toole

Some notes on rhythm.

From chaos, Milieus and Rhythms are born.
Transcoding or transduction is the manner in which one milieu serves as the basis for another, or conversely is established atop another milieu, dissipates in it or is constituted in it.

See the entry on Expression for the mechanics of this.

The milieus are open to chaos, which threatens them with exhaustion or intrusion. Rhythm is the milieus' answer to chaos. What chaos and rhythm have in common is the in-between – between two milieus, rhythm chaos or the chaosmos

Deleuze and Guattari, A Thousand Plateaus, p.313

An attendant figure, passing of into chaos or the inexplicable, and back again repeatedly. Losing sense, reforming it seperately, and then reconnecting. Asymetrical synthesis of the sensible.


Robert O'Toole : 12 Mar 2005 22:40 |  Tags:           |  Comments (0) |  Report a problem

Noise against visual imagination, and the refrain (or how Leibniz would like cinema)

Against noise

Faced with white noise, a void, extreme intensity or excessive speed of modulation, a refrain offers some relief. It is an expression, but one that operates in a tightly closed loop. In the case of a typical human refrain, a song, the singer sings the refrain back to themself. Its content is the human organic form, deterritorialized into the simple, familiar and predictable form of the song. It may continue at great length with little effect on either the singer or the song, until exhaustion sends them to sleep. It is in this way a closing-down, a retreat into simplicity and predictability, away from the world (into the baroque house, for which the harmony and melody of the song build the impenetrable facade): an expression yes, but only just. Almost zero.

The refrain is a desperate defence, a second-level immune response to the failure of the visual imagination. A defence against the penetrating incursion of the sonorous plane, passing through the blockade of the visual imagination. To understand this, first consider how that sonorous plane penetrates and defeats visual defences, how it passes through the image (Bacon's screaming pope).

The defensive imagination

The image, which can be re-presented instantly and switched at will, provides an effective and impenetrable barrier to the exterior, as with the portrait, the image of the ascending head, or the church steeple in Kafka. Deleuze and Guattari argue that these images act not as simple memories, reactivating the past, but rather as means for handling the encounter with uncertainty or the future, finding strength in a certain relation to at least ine object that may be assimilated (the end of the desire):

…it acts as a childhood block, and not as a childhood memory, strengthening desire instead of cramping it, displacing it in time, deterritorializing it, proliferating its connections, linking it to other intensities.

The image acts as a block in both senses: a block as an element or screen that can be placed upon a new territory and onto which connections can be territorialized or projected, carrying away desire into a concentratory dispositif; a block to the chaotic and disruptive effects of that proliferation of connections, a delay, a spacing-out. Its power as such lies in four aspects:

  1. the speed with which the image can be conjured, with all of its points present almost imediately – how all that is needed is a few suggestive points, lines and colours;
  2. how it is constantly rescanned and reconfirmed in perception;
  3. how an image can appear solid and enclosing, blocking out and constituting an exterior;
  4. how the image creates an expansive but delimited territory of co-ordinates, in which expression or a procedure of desire (deterritorialization and reterritorialization) may play (the baroque house).
The scream cuts across and penetrates the image

In Kafka, Deleuze and Guattari say of the image (portrait or figuration):

But that's not important. What's important is the light music, or, more precisely, the pure and intense sound emanating from the steeple and the castle tower: "a bell began to ring merilly up there, a bell that for at least a second made his heart palpitate for its tone was menacing, too, as if it threatened him with the fulfillment of his vague desire. This great bell soon died away, however, and its place was taken by a feeble, monotonous little twinkle." Kafka D&G p.4

Whereas the image acts to concentrate, focus and strengthen the desire within a delimited space, sound is said to interfere with order, connecting with 'vague' or minor expressions that are not oriented towards the reconstitution of the territory of the image. Unlike vision, sound leaks through spatial structures, resonates throughout the body, and concentrates into the ears. Its passage through the meat and chambers of the bodily organs overrides their functions: the stomach now is equivalent to a double bass in terms of resonation – suddenly the voice, the location of human sound, is displaced by a more animal sonic body (think whales):

It's curios how the intrusion of sound often occurs in Kafka…Music always seems caught up in an indivisible becoming-child or becoming-animal, a sonorous block that opposes the visual memory. Kafka D&G p.4–5

The cinema is the place for experiencing this effect. (It is the baroque house of The Fold.) The cinema is constructed as a radical interplay of the sonorous and visual planes. Visual imagination is territorialized upon the screen or perceptual block, both cutting out the exterior, offering a concentration of light and colour, whilst spatializing and slowing down (into the narrative of the film, which is spatial not temporal). But at the same time, sound penetrates the body in deep surround-sound rumbles and piercing dolby screams.

Refrain

Of course any sensible movie director knows not to leave the audience immersed for too long at the point of this schizophrenic collision of visual and audio fields. As the scream fades away into the night, a more familiar pattern of notes rises from low down in the auditorium, as if from the galloping hooves that carry us safely from the scene of brutality. Sing the refrain back to the world, which doesn't expect it, doesn't ask for it. But the refrain sure makes us feel more easy sleeping at night. Sing yourself to sleep.


Robert O'Toole : 12 Mar 2005 22:02 |  Tags:                        |  Comments (0) |  Report a problem

March 08, 2005

Expression, content, assymetrical synthesis of the sensible

Expression is the operation of a programme of deterritorialization and reterritorialization. Repeatedly carrying elements formed in context or territory A into a new relation with elements formed in context B. The deterritorialized elements being the content or payload carried by the expression.

The effect of the delivery may be entirely disruptive when reterritorialization occurs. But more productively, it could trigger a response in the second context B that dissipates the effect, but at the same time releases further elements that may be deterritorialized and reterritorialized within the first context A.

Furthermore, if the deterritorialization from A into B is effectively handled by B, without the immediate destruction of B, and the transmission of released elements from B back to A (feedback) is beneficial to A, then A will tend towards repeating the exchange. Having responded to A effectively in the first instance, B will is more likely to be prepared for the second instance, and in fact has started to stabilise around the expectation. And in turn A is stabilising around the sensation of the return delivery of content.

In this way each context has its exposed surfaces or senses repetitively disrupted. In isolation this interference could only ever be noise, but when part of such a mutually beneficial relationship, the exchanges are sensible. This is the case even though the payload exchanged and the programmatic form by which it is carried in each direction may have no necessary relation. In fact it can be said that the meaning only exists in the overall process, between the lines carved out by each seperate context, combining both contexts and the movements between them in an asymmetrical synthesis of the sensible.


Robert O'Toole : 08 Mar 2005 20:49 |  Tags:         |  Comments (0) |  Report a problem

March 04, 2005

What Is Philosophy?

Follow-up to Ontology as recognized Being, or creativity as an old friend from Transversality - Robert O'Toole

Bearing in mind what Deleuze says about philosophy not being about the recognition of Being (in Difference and Repetition), perhaps we should consider the title of the book What Is Philosophy? to be deliberately ironic.

Are they then saying that philosophy is not some essential expression of the human intellect, of some higher faculty, but rather is a useful 'helper concept'?


Robert O'Toole : 04 Mar 2005 10:48 |  Tags:         |  Comments (0) |  Report a problem

Ontology as recognized Being, or creativity as an old friend

Follow-up to Difference and Repetition, Nietzsche and the creative turn from Transversality - Robert O'Toole

…and a tension exists in the work of Deleuze between:

  1. the move from an ontologically foundational Being to a recurrently disruptive but still at the same time foundational and ontological difference and repetition;
  2. the requirement that on each application of that ontology (in science, in painting, in cinema, in psychotherapy…) it is renewed and rephrased differently, but again drawing on its conceptual power.

But of course as Deleuze moves the focus away from recognizing what Is to the question of 'how can we create?' that is not a problem. If a helper concept of creativity or difference works to make thought more creative, less repressive, then use it. If not, abandon it.

And that also makes sense of Deleuze and Guattari's notion of the philosopher as conceptual personae or friend of the concept – a friend recognizes and relies upon a friend, but its not a relationship of absolute foundational dependency. Rather, there is rivalry, competition, and sometimes abandonment.


Robert O'Toole : 04 Mar 2005 10:30 |  Tags:            |  Comments (0) |  Report a problem

Difference and Repetition, Nietzsche and the creative turn

Follow-up to Freeing the concept of creativity from the concept of possession from Transversality - Robert O'Toole

The answer, for Deleuze at least, is yes. Or rather, the concept of the new or difference (in its composite with repetition), is one of these 'helper concepts' – Nietzsche's best friend, saving him from the interminable closed cycle of Cartesian recognition or Kantian good-sense.

The Image of Thought chapter in Difference and Repetition states it quite plainly. The really big question for philosophy is not how recognition (clear, distinct, true or otherwise) is possible - that's trivial. Rather it is the question of how we break out of the everyday, the familiar. It is the question of how difference is possible. But not in some abstract sense, but genuinely how we go beyond the algorithms of our constitution. So it is the case that Deleuze is not Kantian (or as Keith Robinson has said, perhaps he is re-activating a pre-Kantianism). He was out to engineer a creative turn rather than fixing the critical turn.

In Difference and Repetition, as in Logic of Sense, we see Deleuze dealing with the metaphysical question of how creativity, difference, is metaphysically possible: what is its ontology? In this domain the question concerns the possibility of time itself.

Nietzsche's distinction between the creation of new values and the recognition of established values should not be understood in a historically relative manner… In fact it concerns a difference which is both formal and in kind. Difference and Repetition p.136

But it takes an involvement with Guattari to give Deleuze a chance to answer the really useful problem of creativity. Guattari the psychotherapist involved on a daily basis with dislodging people from the viscious circle. This engagement combines with Deleuze's fascination with painting and with cinema to establish, following on from the ontology of difference and repetitiion, a practical approach to creativity.


Robert O'Toole : 04 Mar 2005 08:26 |  Tags:                      |  Comments (0) |  Report a problem

February 15, 2005

Concepts as powers

Follow-up to Some questions concerning creativity from Transversality - Robert O'Toole

The concept of 'I', that of the cogito, works as a concept through its application to a range of components, through the inseperability of those components from the concept. Thinking is concieved as belonging to an I or otherwise, as a posession of an I. Similarly, being, which only achieves certitude through being thought, must therefore be the property of an I that thinks. In a Cartesian world, 'thinking' without the I loses its sense, is hardly an activity at all, is a free-floating component, with no definite concept. Clearly it is still an 'activity', or at the very least some kind of event. But they are vague and empty concepts, place-holders that absorb differences.

In this way we can see that being a concept means having a power over a set of components, of raising issue with them. The power of 'I' is to ask the question of possesion, in fact and by right, of everything. Leading directly to the transcendental I as the concept is developed.


Robert O'Toole : 15 Feb 2005 23:50 |  Tags:       |  Comments (0) |  Report a problem

Schizoanalysis as philosophical imagination, as philosophical method

Follow-up to The double agenda of this thesis: a method and an application from Transversality - Robert O'Toole

Schizoanalysis as a method brought together a psychotherapist (Guattari) and a philosopher (Deleuze). Guattari was concerned with the provision of philosophical concepts to patients in an attempt to give them room to manouvre, the chance of escape, freeing them up from patterns of addiction and inescapable habits. Deleuze moved in the opposite direction, from his studies in the history of philosophy, seeking to re-personalise, situate, and re-animate philosophical concepts, restoring their vitality and application, reconnecting them with their generation in a powerful philosophical imagination, with 'conceptual personae', and hence making the emergence of new concepts a real possibility for us.

The method that resulted, schizoanalysis, tends towards the production of concepts, philosophical creativity and experimentation. The elements of this being:

  • the creation and pedagogy of the concept, its creation and re-creation, its journey (deterritorialization and reterritorialization) in time and space, localized in and transported between people, places, societies, texts and other abstract machines;
  • the result of what could be called a 'philosophical imagination';
  • an imagination that acts to 'free-up' abstract machines, not simply by offering a novel set of possible-worlds, but more radically by offering new sense to what it means to be possible and impossible, to be a world;
  • an imagination capable of taking us beyond the permutations of our operational ontology;
  • doing so in response to and to enable changes in the material of thought and the apparatus of reality, for example at the extremes of physics, or the social production of the human;
  • freeing up and enabling new directions in science and art otherwise locked-in to the currently operational ontology;
  • providing a special class of concepts that can be relied upon to help carry us through these changes, concepts such as 'art', 'science', 'imagination', 'schizoanalysis', and perhaps also 'creativity';
  • whilst guarding against concepts that appear to have this power, but which in fact are empty, meaningless, black-hole concepts that merely absorb energies that drive towards such freeing-up, that act on every such desire with indifference – transcendent.

Robert O'Toole : 15 Feb 2005 22:21 |  Tags:                 |  Comments (0) |  Report a problem

February 08, 2005

The role of the concept of creativity in creating concepts

Follow-up to Methodology – what is a concept? what is philosophy? from Transversality - Robert O'Toole

  1. What happens to concepts when they pass the extent of their engagement? If the concept doesn't become figural, perhaps the components in some way operate independently of the concept, and start to find new connections and new components not mediated by the concept? The concept becomes…
  2. Is a 'minor literature' the activity of a set of components from a concept operating beyond its extent?
  3. Is creativity a concept necessary for a set of activities that generates new concepts out of the collapse of old concepts? – drawing together a range of eccentric and risky techniques.

Robert O'Toole : 08 Feb 2005 23:10 |  Tags:         |  Comments (0) |  Report a problem

Methodology – what is a concept? what is philosophy?

What difference does the concept make? What becomes inevitable when the concept is available? And further, what becomes inevitable when the concept is used? (which is not the same question). A concept is not understood by its potential to exist or not, but rather by what it makes inevitable, what it determines. The choices are components in the concept, but the scope of those choices is already determined as the intension of the concept.

In considering a concept, consider the life of the concept – its sustainability. Can the concept stand on its own, permanently? Or does it inevitably carry the seeds of its own destruction, its own subjugation to a higher concept, of which it is only a component? For example, the way in which a badly analyzed concept of 'free speech' results in a babble of opinion. If what the concept of 'free speech' makes inevitable is a meaningless babble, then it is actually just a component in the 'higher' concept, meaningless babble.

The extension of a concept – its portability. This makes a concept more than just a raw event. What is the limit of a concept's extension? – the point at which it becomes a component? No, it is the point at which it fails to engage at all, and leaves a void into which a search for a new concept becomes necessary?

The 'over' of Nietzsche's 'overman' does not indicate that man as a concept becomes subservient to a new order, for example a component in the National Socialist program. Rather it indicates the point at which the extension of the concept of man is reached, and at which point it no longer engages. A new concept must be found.

The tasks of philosophy:

  1. finding the concept, going beyond the components to the absolute field that holds them together, the sustainable concept;
  2. testing the extension of the concept;
  3. forming new concepts when the extension of a concept is surpassed.

And when we pass through the void, are there special concepts that help us to generate new concepts? Is the concept of creativity one of those concepts?


Robert O'Toole : 08 Feb 2005 21:28 |  Tags:              |  Comments (0) |  Report a problem

February 01, 2005

The attendant figure, deterrritorialization, sensus communis

The figure, as a site of habitual sensation, simultaneously dissipates into a chaosmic and unknowable field, whilst defining itself through its engineering agency from that field, which in this return movement stands as a material structure, habitat or frame. The field, being dense with connections, is that space in which the slightest of movements has a massive and irreversible effect. Habit or the organ has no definite sense in the field, has no role in reproduction, hence the necessity to become a 'body without organs' when passing into the field – zero intensity, zero effect, zero feedback, guaranteeing that a return from the field to the figure in repetition, but renewed from the outside.

But how does one reach zero intensity? – how to pass through chaos and back, surviving in some recognisable form? – how do you make yourself such a body without organs? On fleeing from the habitat, from the aparatus of capture, they say that it is necessary to pick-up in an itinerent fashion "weapons" with which to encounter chaos. The weapon is, in fact, that which draws the diagram: some other thing deterritorializing at the same time against which marks can be cut: the painters brush and colours. As they say, 'you never deterritorialize alone'. The friend of the painter is the canvas, brush, colour, texture. And the attendant figure? As Deleuze says of Bacon, not an observer, a counter-point, but a figurative companion standing as a diagram in the deterritorialization through chaos and back. A sensus communis even.


Robert O'Toole : 01 Feb 2005 23:41 |  Tags:                    |  Comments (0) |  Report a problem

January 20, 2005

Zone of indiscernibility between philosophy, art and science

Follow-up to Opinion from Transversality - Robert O'Toole

In What Is Philosophy? Deleuze and Guattari seem to argue for a strong division between philosophy, art and science. This could be a reaction to criticism of their earlier collaborations. But do they only go so far as to say that the different disciplines (machinic phyla) have different aims and different methods, whilst still maintaining that they do pass through chaosmosis together, sharing zones of indiscernibility? That would be more in keeping with their earlier work. And what is the nature of this transversality? Just opinion? Or are there more sophisticated (viral, germinal) mechanisms at work?

Robert O'Toole : 20 Jan 2005 07:47 |  Tags:           |  Comments (1) |  Report a problem

January 16, 2005

Free expression – a misconception

A misconception of a misconception:

"A third misconception is that creativity is to do with free expression. This is partly why there's such concern about creativity in education." Out Of Our Minds: Learning To Be Creative, Ken Robinson, Capstone 2001, p.112

Of course Ken is right to argue that creative activity necessarily involves more than just wild and unguided behaviour. Creativity requires a discipline, some kind of order. However, in placing such disciplined creativity in opposition to 'free expression' a powerful connection is missed.

Firstly, we could say that creativity and freedom are dependent upon each other. This follows from considering that any activity that tends towards the stereotypical and away from difference is in no way free, being determined by the stereotype. And if we then consider that creativity always involves such differentiation, we could argue that: to be creative is to differentiate, to differentiate is to be free. Similarly, there is no freedom in a speech that simply applies stereotypes and secondhand opinions.

Secondly, we could argue that all expression requires some form of discipline, order, organisation: a language of expression, or the 'material' of expression. And therefore, all 'free expression' is ordered and disciplined to a varying extent.

From these arguments we can conclude that creativity must always be in some way a free expression, a differentiation that applies a discipline to break out of some stereotypical behaviour.

Going one step further, we could consider if a unified and strongly deterministic discipline, one that is unaltered by its application, is ever capable of producing anything new? If that is the case, then free expression is a special form of expression in which the tools, the material or language of the expression, and the potential of those tools, is somehow extendable and modifiable. Perhaps being modified by the act of expression in which they are applied: a non-linearity in expression.

Now consider again the fear of 'free expression' that Ken talks of. What real fear does it mask? A fear of chaos? Or rather the fear that a cherished discipline will become modified? A fear that a toolset will be developed independently of its stereotypical application?

Is it then the case that this simplistic concept, deployed in the campaign against creativity in education, is a parody-concept designed to lead us away from more sophisticated, powerful and essential concepts of freedom, expression, creativity and intelligence? For readers of Deleuze and Guattari this will be a familiar ploy, they repeatedly identify concepts that are designed to parody complexity, creativity, desire and chaosmosis. The parody is always the same: portraying them as an uninhibited and undifferentiated sublime.


: 16 Jan 2005 10:52 |  Tags:             |  Comments (0) |  Report a problem

November 27, 2004

The engineering in science, the experimentation in philosophy and art

Writing about an entry you don't have permission to view

"Experimental method does sometimes manipulate things" – no, it always manipulates things. Tell me of an experiment that doesn't involve the manipulation of a variable and the recording of the effect of that manipulation. Even in the case of experiments that seek to be purely the observation of 'natural events', those events are manipulated such that variables may be isolated and their relationships, as events occur, quantified. So every form of experiment is engineered, constructed, manufactured. And for every experiment, there is possibly an alternative configuration, a different engineering solution.

"Some of the most famous experiments in modern physics are gedankenexperiment – thought experiments – that don't actually require any prodding of stuff at all." – it depends on what you think that stuff is. A thought experiment considers a possible world in which variable A is somehow related to variable B. Some mechanism is posited that explains how the variables interact. Again the whole thing is engineered, this time as a simulated set of variables and functives. However, those simulated objects must still be constituted as mathematical, computational or conceptual objects so that they may be manipulated. For the thought experiment to have any 'scientific validity' that engineering must hold up to scrutiny, must work, in the same way as any engineered structure must work.

And here's the final twist: are physical experiments and scientific thought experiments different in kind, or only by degree? In the former case, a model is applied to the physical world in order to see if something is missing or inaccurate. The model predicts what will happen. Even when we are just seeking to gather empirical data, we apply a model, assuming that the things that we are measuring are the things that we think them to be and not some figment of our imagination (consider if the sense data that we are tracking turns out not to belong to the object that we assume it to be part of, and in fact is just there by coincidence). In the case of thought experiments, we are again looking to see if the relationships that we posit can be seen to necessarily result in the effect that we posit as the result of the interactions – or is there something missing from our model? Perhaps the only difference between scientific thought experiments, which I am calling simulations, and physical experiments, is that the former deals with a restricted and less complex environment.

Notice the shift of terminology there, from talking of scientific thought experiments to referring to them as simulations. At the moment i'm reading the section of What Is Philosophy? (Deleuze and Guattari) that deals with the difference between science and philosophy. Science we are told is concerned with functions and variable. Philosophy is the realm of concepts, which are quite different. I'm still working on this, but it seems that the key difference is that functions and variables represent reversibles, and concepts are irreversible. Anyhow, D&G seem to reserve the term 'thought experiment' for a mode of experimentation that works with concepts, and is therefore the domain of philosophy. This implies that they see a commonality between experimentation in science (be it physical or simulated) and experimentation in philosophy (with concepts):

To be sure, there is as much experimentation in the form of thought experiment in philosophy as there is in science, and being close to chaos, the experience can be overwhelming in both. What is Philosophy?, Deleuze and Guattari 1994, p. 127

The different modes of experimentation are defined by their relationship with chaos. In the case of philosophy, the aim is to pass through chaos such that an impossible world is actualised, a formerly inconcievable state is reached. In the case of science, experimentation posits a set of possible states that can be interchanged for each other through the operation of a function along variables. The model opens itself to chaos through its application, and on the discovery of missing elements, assimilates them back into the model as further possibilities, as further variables. In this way science progresses, whereas philosophy differentiates.

But in reality science and philosophy are mixed. Scientific models can suddenly breakdown upon their engagement with chaos. And creation (or differentiation, its pseudonymn in D&G) then occurs:

But there is also as much creation in science as there is in philosophy or the arts. ibid p.127

The tendency of science, it could be said, is to sometimes creatively fictionalise the sense of progression by reinventing its model in a new but familiar form. Philosophy, of course, also suffers from this delusion, and must itself be more prepared to abandon the concept of progress. Art, the third of the trinity of disciplines, suffers from a related delusion, in this case the idea that it proceeds without experimentation, simply through a sensus communis of good taste experienced as genius:

There is no creation without experiment. ibid p.127

Robert O'Toole : 27 Nov 2004 21:22 |  Tags:             |  Comments (3) |  Report a problem

November 14, 2004

Potential

A state of affairs or "derivative" function depends on such a relation: an operation of depontentialization has been carried out that makes possible the comparison of distinct powers starting from which a thing or a body may well develop. WiP p.122

Depontialization introduces a sufficient degree of redundancy, such that small intensive variations do not result in large qualitiative modifications.

a state of affairs does not actualize a chaotic virtual without taking from it a potential that is distributed in the system of coordinates. WiP p.122

By "state of affairs" Deleuze and Guattari are refering to the functive or complex assemblage of variables, the slowing down of matter.

Potential implies an actualisation not passing through chaos, but rather bounded and determinate in outcome such that the variable object remains qualitatively same through intensive variation. The variation remains reversible. It is subject to probability.


Robert O'Toole : 14 Nov 2004 08:15 |  Tags:               |  Comments (0) |  Report a problem