All 3 entries tagged Critique
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June 23, 2005
"Deleuze seeks to undermine the idea of knowledge that is implied in the transcendental model of modern metaphysics, which, he argues, is a model and form of recognition (between self and world, or subject and object, and self and other." Ansell Pearson, Germinal Life p.89
…to a 'superior empiricism' of "something in the world forcing us to think" .
"The overman exceeds established philosophical modes of recognition and the reduction of becomings in the world to perceptual and affective cliches." (KAP p.89)
…referring back to Bergson's critique of natural perception
As i wrote earlier of the helper concept "creativity":
"Deleuze moves the focus away from recognizing what Is to the question of 'how can we create?'"
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March 22, 2005
March 04, 2005
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.