“Cinema Not Yet Invented: Toward an Ontogeny of Cinema” (original) (raw)
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The literality of the Image: The Event Released by the Concept. Deleuze, Cinema, Philosophy
CINEMA'S CONCEPTS: A LITERAL EXPRESSION "Cinema's concepts are not given in cinema. And yet they are cinema's concepts, not theories about cinema" (TI, 280). It is with this phrase that Gilles Deleuze simultaneously closes The Time-Image and calls for a new relationship between cinema and theory. The newness of this relationship doesn't come from a radical remixing of film studies, but from a slight distortion in perspective. For Deleuze, a "theory of cinema is not 'about' cinema, but about the concepts that cinema gives rise to" (TI, 280). This being said, how can cinema give rise to concepts, and how can it give rise to concepts that have value only to itself? The answer Deleuze provides is a comical one: cinema gives rise to concepts because it poses problems, and it gives rise to cinema's concepts because it poses cinematic problems! 1. To be published in José Carlos Cardoso (editor), Deleuze and the Problem of Literality, Edinburgh, Edinburgh University Press (forthcoming).
Cinema (Section C), The Deleuze Dictionary
The Deleuze Dictionary, Edited by Adrian Parr (2010/2005), 2010
In the period before his death, Deleuze announced in an interview that he would like to compose a work, which would be called The Grandeur of Marx. This fact clearly indicates Deleuze's positive attitude towards the philosophy of Karl Marx, which he never abandoned despite altering many of its fundamental elements. Certainly the most important of these elements is capitalism. The Marxism of Deleuze comes from his insistence that all political thought must take its bearings from the capitalist context we live in. While mentioning capitalism in passing in a number of places, it is the two volumes of Capitalism and Schizophrenia, which contain the most sustained and radical treatment of this theme. Deleuze and Guattari insist any given social formation restricts or structures movements or fl ows. They claim that these fl ows are not just the fl ows of money and commodities familiar to economists, but can be seen at a variety of levels: the movement of people and traffi c in a city, the fl ows of words that are bound up in a language, the fl ows of genetic code between generations of plants, and even the fl ow of matter itself (the movement of the ocean, electrons moving in metals, and so forth). Thus, Deleuze and Guattari's political thought begins with the premise that nature itself, the Whole of existence, is at once a matter of fl ows, and that any society must structure these fl ows in order to subsist. All State and pre-State societies-all those which according to Marx are pre-capitalist-on Deleuze and Guattari's account, have such a restriction of fl ows as their basic principle. Deleuze and Guattari call this process of restriction, or structuring, 'coding'. They conceive coding as at once restrictive and necessary. Societies, as regimes of coding, aim to bring about certain fi xed ways of existing (living, talking, working, relating) while denying other more malleable ways. However, without some structure-our own coherent individuality and agency for example, which Deleuze and Guattari consider specifi c to each social formation and always oppressive-there would be
Culture and Organization
LIRSA Lab (E. A. n° 4603). He has published widely on the relationships between objects, performance and discourse, as well as producing papers on other epistemological and methodological related topics. Most notably, he published a paper on the renewed topicality of Gilbert Simondon"s Schemas, in 2014. He currently chairs the Strategic Management Special Interest Group (SIG) at the European Academy of Management (EURAM). He also serves as a member of the editorial board of the Society and Business Review and as Associate Editor of the European Management Review. Strategy matrixes as technical objects: Using the Simondonian concepts of concretization, milieu, allagmatic principles and transindividuality in a strategic management context. In this study of the genesis of strategy matrixes, which is based on methodologically collected archives, we look at how management tools can be considered technical objects, under the definition put forward by philosopher Gilbert Simondon. Through that lens, we consider the example of a strategy matrix taken as a "technical individual" that is singularly striving to become itself, which can mean success, disappearance or reappearance. That becomingness can be explained by considering the object"s "degree of concretization" and its capacity to give rise to its own "milieu." Four stages are involved, in which strategy matrixes can be classified in terms of undergoing a "technical genesis." In taking another theoretical perspective, we will broaden our discussion to look at technical culture, while borrowing from Simondon"s notion of "transindividuality." Lastly, moving to epistemological issues, we revisit Simondon"s take on allagmatic principles and examine their complementarity with Michel Foucault"s conception of archeology.
On the Epistemological Potential of Film: An Inquiry into Apparatus Theory
Kastamonu İletişim Araştırmaları Dergisi, 2021
This study questions the cinematic pathways for materialist social inquiry through a theoretical discussion that scrutinizes interconnections among the seventh art, cinematic realism, and ideology. One of the early systematic approaches which comprehensively deals with the discussion of ideology in cinematic practice is the apparatus theory. Broadly speaking, scholars of apparatus theory discuss the structure of cinema in the context of the social reproduction of prevailing ideologies. Although they are mostly pessimistic about the possibility of creating a critical, materialist cinematic approach, they nevertheless offer brilliant cinematic strategies to sabotage prevailing ideological reproduction. This article revisits the most crucial discussions of the apparatus theory with a contemporary look. By doing so, the possibilities of an alternative cinematic practice that may function as a cognitive tool to develop a critical/materialist social inquiry within the neo-liberal capitalist social structure are discussed. Öz Bu çalışma, yedinci sanat, sinemada gerçekçilik ve ideoloji arasındaki karşılıklı bağlantıları irdeleyen teorik bir tartışma yoluyla materyalist sosyal araştırmanın sinematik yollarını sorgulamaktadır. Sinema pratiğinde ideoloji tartışmasını kapsamlı bir şekilde ele alan erken sistematik yaklaşımlardan biri aygıt kuramıdır. Genel olarak, aygıt kuramı araştırmacıları, sinemanın yapısını hâkim ideolojilerin toplumsal yeniden üretimi bağlamında tartışırlar. Eleştirel ve materyalist bir sinema yaklaşımı yaratma olasılığı konusunda çoğunlukla karamsar olsalar da hâkim olan ideolojilerin yeniden üretim sürecini sabote etmek için yaratıcı sinematik stratejiler sunarlar. Bu makale, aygıt kuramının en önemli tartışmalarını güncel bir bakışla yeniden gözden geçirmektedir. Bu yol ile neo-liberal kapitalist toplumsal yapıda eleştirel/materyalist bir sosyal araştırma geliştirmek için bilişsel araçlar olarak işlev görebilecek alternatif bir sinema pratiğininin olanakları tartışılmaktadır.
The Conceptual Act of (Non)Instrumentality
AM Journal of Art and Media Studies
This paper aims at hypothesizing that the issue of technology could never be considered separate from the creative act. We develop the hypothesis starting from Heidegger’s opposition of technology and the poietic, which we interpret through the dialectic between the performative and constative function of the hand. To overcome the Heideggerian problem of Enframing, we introduce the question of singularity inherent in every poietic activity which, however, does not result in conceiving technology as an instrument. When defining the nature of such poietic singularization we employ Spinoza’s concept of an inadequate idea – an idea that involves its cause but does not explain it. The inherent negativity of the inadequate idea generates the sphere in which the new appears as radical otherness. But in order to produce the new, that is, to perform it, technology has to be conceptualized and thus made an instrument – a singular instrument of the creative act. Article received: May 23, 2022;...
International Journal of Art & Design Education, 2017
In this article, we seek to unpack and enrich the notion of the design concept. We do this through the use of Gilles Deleuze and Felix Guattari's ‘concept’ in its philosophical specificity to critique less‐effective uses of the design concept. In particular, we investigate the idea that a concept is actually an aggregation of many concepts that can be seen to have a virtual consistency as a way to reframing more limited, typical, design concepts – used as justification, explanation, clarification or excuse. Our interest here is to explore how concepts can become much more useful throughout the process of design by drawing linkages between the concept and the workings of the creative process itself. In other words, we see the concept, parsed philosophically, as fusing with design thinking; and by taking advantage of this coupling each strengthens the other. Ultimately, we claim that a richer view of language and a more perfomative processes of making (diagramming) drive this coup...