[csaa-forum] 2 Deleuze gigs
fcolman at clyde.its.unimelb.edu.au
fcolman at clyde.its.unimelb.edu.au
Tue Jun 8 15:42:47 CST 2004
Hi, back from Canada... with Deleuzians in tow - following flyers fyi
+ any pgrads who may be into Deleuze, Dan Smith is a brilliant
speaker. I met up with Claire Colebrook, et al. at Trent Uni - it was
a very 'intense' week with the Deleuzians!
Best, Felicity Colman.
Daniel W. Smith:
"Deleuze and the Theory of Immanent Ideas"
Wednesday 16 June 2004 @ 6:30 pm - 7:30 pm
Gryphon Gallery, 1888 Building, Grattan Street,
University of Melbourne
Daniel W. Smith: "Deleuze and the Theory of Immanent Ideas"
This paper will examine the theory of ideas played in Deleuze's work
particularly Difference and Repetition, although Plato Kant and Hegel
are traditionally seen as the three great philosophers of ideas in
the history of philosophy, Deleuze can perhaps now be added to the
list, since he has attempted to take the theory of ideas to its
immanent and differential limit. My aim with this paper is to trace
the genesis of Deleuze's immanent theory of ideas in three separate
but related movements:
1. First, Kant had already inaugurated the immanent interpretation of
ideas in the Critique of Pure Reason, where he critiqued the ideas of
the self, the World, and God as transcendent illusions. Deleuze's own
theory in effect starts with Kant but revises the Kantian theory in
light of the work of Salomon Maimon who was the first post-Kantian to
return to Leibniz. Ideas are immanent within experience, Maimon
argued, because the real objects are problematic structures, that is,
multiplicities constituted by converging and diverging series of
singularities - events. As Kant had already shown, it is only the
self that guarantees the connection of series (the categorical "and .
. . "); the transcendent form of the world that guarantees the
convergence of continuous causal series (the hypothetical "if . . .
then"); and the transcendent form of God that guarantees disjunction
in its exclusive or limitative use (the disjunctive "either or").
When they are freed from these appeals to transcendence, ideas take
on a purely immanent status, and the Self, the World, and God share a
common death. "The divergence of the affirmed series forms a
'chaosmos' and no longer a World; the aleatory point which traverses
and forms a counter self, and no longer a self; disjunction poses as
a synthesis exchanges its theological principle of diabolic
principle. . . .The Grand Canyon of the world, the 'crack' of the
self, and the dismembering of God" (Logic of Sense, p.176).
2. In order to characterize the nature of Ideas as immanent
multiplicities - now stripped of any appeal to transcendence (Self,
World, God) - Deleuze effects a post-Kantian return to Leibniz. It is
from Leibniz (and the model of the differential calculus) that
Deleuze will derive the formal criteria he uses to define ideas in a
purely immanent sense: singularities, problematic, multiplicity,
event, virtuality, series, convergence and divergence, zones of
indiscernibility, and so on. Manuel DeLanda in his Intensive Science
and Virtual Philosophy has masterfully explored the mathematical
origins of Deleuze's theory of Ideas, not only in the calculus
(Leibniz, Lautman), but also in group theory (Abel, Galois) and
differential geometry (Gauss, Reimann). In order to clarify the
nature of Deleuze's theory, I would like to focus on three of these
fundamental characteristics: the differential relation, singularities
and multiplicities (all of which are concepts derived from
mathematics) as examples of Ideas, I will briefly examine Leibniz's
theory of perception and his theory of freedom (motives).
3. Finally, I would like to show how anti-Oedipus carries D's theory
of Ideas over into the ethico-moral domain. The object of Kant's
critique of Practical Reason was the faculty of desire, and Kant
defined the higher faculty of desire in terms of its synthetic
relation with the pure form of moral law. After eliminating the
transcendent ideas in the first critique, Kant was content to
resurrect them (illegitimately according to Deleuze) in the second
critique where they appear as the necessary postulates of practical
reason. Like Kant, Deleuze will synthesize desire with a pure form,
the form of the idea, but he insists that such ideas must be
construed in purely immanent terms: "we say that there is an
assemblage of desire each time that there are produced in the field
of immanence, or on a plane of consistency, continuums of
intensities, combinations of fluxes, emissions of particles at
variable speeds" (Dialogues, p.98). From this viewpoint, Anti-Oedipus
is a reworking of the Critique of Practical Reason, as Difference and
Repetition is a reworking of the Critique of Pure Reason. Deleuze's
philosophy can thus be seen as both an inversion and the completion
of Kant's critical project, one in which the theory of ideas, one in
which the theory of ideas plays an important directive role.
Daniel W. Smith teaches in the Department of Philosophy at Purdue
University, where he specializes in contemporary Continental
philosophy, philosophy of art, 17th-Century rationalism, Nietzsche,
and philosophy and literature. He is the author of numerous articles
on various topics in European philosophy, and is currently completing
a book on the work of Gilles Deleuze. He is the translator of Gilles
Deleuze's Essays Critical and Clinical (with Michael Greco) and
Francis Bacon: The Logic of Sensation, as well as Pierre Klossowski's
Nietzsche and the Vicious Circle and Isabelle Stengers's The
Invention of Modern Science.
Dr Felicity J Colman
Cinema Studies Program,
School of Art History, Cinema, Classics & Archaeology
+61 3 83443359
fcolman at unimelb.edu.au
LECTURE RMIT Thursday June 17, 6pm, Blg 8, level 11, lecture hall 68,
RMIT, Swanston St, Melbourne.
Daniel W. Smith
Gilles Deleuze, Francis Bacon, and the Logic of Sensation
The lecture will examine the analysis of Francis Bacon's paintings
presented in Gilles Deleuze's book Francis Bacon: The Logic of
Daniel W. Smith's important translation of Gilles Deleuze's
remarkable text Francis Bacon: The Logic of Sensation has been a
welcome addition to Deleuze scholarship in the Anglophone world.
In the 2003 Minnesota publication (the translation has also been
published with Continuum, 2003), Smith offers an important
translator's introduction where he guides our approach to Deleuze's
treatment of Bacon along three conceptual trajectories. He names
these aesthetic comprehension, rhythm, and chaos, and draws
interesting connections to Kant's three critiques in order to
elaborate Deleuze's argument.
As Smith points out, Deleuze frequently insists that he is not an art
critic, but always a philosopher. The task of the philosopher,
Deleuze and his collaborator Félix Guattari have insisted in What is
Philosophy?, is to create novel concepts.
When Deleuze approaches Francis Bacon the artist, he creates
philosophical concepts for the artist's sensory and perceptual
It is important to remember that none of these activities are given
priority over the other, as Smith argues "creating a concept is
neither more difficult nor more abstract than creating new visual,
sonorous, or verbal combinations." Instead, the disciplines, by
surveying terrains other than their own, enter into relations of
Thursday 17 June, 2004, Lecture Hall 8.11.68, 6.00pm.
Drinks beforehand from 5.00pm at level 11 bar.
Program of Architecture
helene.frichot at rmit.edu.au
p: +61 3 9925 2667
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