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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-family:"Garamond",serif;color:#222222;background:white">“Immediacy, Causality,</span><span style="font-family:"Garamond",serif"> Plasticity:<i>
</i><span style="color:#222222;background:white">Catherine Malabou </span>and the Future Undoing of Philosophy”. A special issue of
<i>Culture, Theory and Critique</i> (2019) co-edited by Richard Iveson and Greg Hainge.
<i><o:p></o:p></i></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif">___________________________<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif">Catherine Malabou opens
<i>Before Tomorrow </i>(2014) with a striking yet seemingly simple question: ‘Why has the question of time lost its status as the leading question of philosophy?’ At one time, once upon a time, time led the way to the meaning of being, so why has no one ‘taken
up the problem by trying to develop afresh a decisive concept of temporality?’ And, more, why does no one even
<i>ask</i> this question anymore? Taking the concepts of <i><span style="color:#222222;background:white">immediacy</span></i><span style="color:#222222;background:white">,
<i>causality</i>,</span> and <i>plasticity</i> as its guiding focus, the proposed issue of
<i>Culture, Theory & Critique </i>invites contributors to take up the question of time anew through immanent critique of Malabou’s
<i>oeuvre </i>or through its application to specific phenomena. Contributions are expected to forge unexpected encounters between different disciplinary settings and intellectual traditions, be they speculative, physical, neurological, corporeal, dialectical,
mechanical, historical, materialist, determinist or textual. As such, the proposed issue explicitly accords with the central aim of
<i>Culture, Theory and Critique </i>to ‘critique and reconstruct theories by interfacing them with one another and by relocating them in new sites and conjunctures.’<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin-bottom:4.0pt"><span style="font-family:"Garamond",serif">Guiding questions might include:<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0cm;margin-right:11.55pt;margin-bottom:4.0pt;margin-left:14.2pt;background:#FCFCFC">
<span style="font-family:"Garamond",serif">Can we only ever approach being except through time? Now that the traps and trappings of anthropocentrism no longer hold, how might this impact upon questions of mediation and immediacy? Is immediacy synonymous with
the ‘state of nature’? With ‘the encounter’? Indeed, is immediacy even possible, or does it merely serve as a guise beneath which idealisms, humanisms and vitalisms can flourish?</span><span lang="EN-US" style="font-family:"Garamond",serif"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0cm;margin-right:11.55pt;margin-bottom:4.0pt;margin-left:14.2pt">
<span style="font-family:"Garamond",serif">What happens if, following Heidegger, we suppose that causality is in fact ‘veiled in darkness with respect to what it is?’ For Malabou, the question of time crosses the strange causality of the
<i>accident</i>, an event of metamorphic power that emerges ‘not as absence of form but as the form of its absence,’ one which creates
<i>both</i> a past that never took place <i>and</i> an entirely new subject to assume that past. How might such strange causality challenge the very notion of metamorphosis itself? How might such an understanding of causality impact upon philosophy and ethics,
both traditional and contemporary? How might it effect how our current negotiations with the futural and the virtual? Will ‘time’ itself ultimately be the undoing of the future?
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0cm;margin-right:11.6pt;margin-bottom:0cm;margin-left:14.2pt;margin-bottom:.0001pt">
<i><span style="font-family:"Garamond",serif">Plasticity </span></i><span style="font-family:"Garamond",serif">is the motive or scheme that enables the interpretation of phenomena
<i>itself</i>, that is, of <i>being</i>. For Malabou, ‘everything <span style="background:white">
starts’</span> with metamorphosis that ‘trumps all determination’<span style="background:white"> and so makes of form always a question of<i> time</i>.
</span>Does plasticity thus risk dissolving into nothing by becoming everything? Can value distinctions be made in a universe that already and everywhere operates according to an instinctive, nonlinear plasticity?<span style="background:white"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="margin-bottom:6.0pt"><span lang="EN-US" style="font-family:"Garamond",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif">The editors are in contact with Catherine Malabou and it is envisaged that the volume will contain a contribution by Malabou either in the form of an original article or a response to the issues
raised in the selected papers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif">Potential contributors are invited to submit an abstract (max 500 words) to Greg Hainge (<a href="mailto:g.hainge@uq.edu.au">g.hainge@uq.edu.au</a>) by May 4. A decision on papers for the final
volume will be made shortly thereafter with articles (c. 7000 words) due by the end of October 2018. Please note that selection for the volume does not guarantee publication and all papers will be subject to the journal’s normal rigorous double blind peer
review process. Authors whose papers are not chosen for the special issue are welcome to submit their articles to the journal for consideration for publication in an open issue.
</span><span lang="EN-US" style="font-family:"Garamond",serif"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif">For more information on
<i>Culture, Theory and Critique</i>, see the journal’s webpage: <a href="https://www.tandfonline.com/toc/rctc20/current">
https://www.tandfonline.com/toc/rctc20/current</a>. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif">The journal’s aims and scope can be found here:
<a href="https://www.tandfonline.com/action/journalInformation?show=aimsScope&journalCode=rctc20">
https://www.tandfonline.com/action/journalInformation?show=aimsScope&journalCode=rctc20</a>.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif">Instructions for authors here:
<a href="https://www.tandfonline.com/action/authorSubmission?journalCode=rctc20&page=instructions">
https://www.tandfonline.com/action/authorSubmission?journalCode=rctc20&page=instructions</a>
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Garamond",serif"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-US" style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#400040;mso-fareast-language:EN-AU">Professor Greg Hainge, FAHA, SFHEA<br>
</span></b><span lang="EN-US" style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#400040;mso-fareast-language:EN-AU">Professor of French | UQ Senate Member |
<br>
SLC Deputy Head of School and Director of Research Training | <br>
School of Languages and Cultures | UQ<o:p></o:p></span></p>
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<p class="MsoNormal" style="line-height:105%"><span style="mso-fareast-language:EN-AU"><img border="0" width="62" height="96" style="width:.6458in;height:1.0in" id="Picture_x0020_3" src="cid:image001.jpg@01D3CBFD.78486090" alt="Philippe Grandrieux"></span><b><span lang="EN-US" style="font-size:10.0pt;line-height:105%;font-family:"Arial",sans-serif;color:#400040"><o:p></o:p></span></b></p>
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<p class="MsoNormal" style="line-height:105%"><span style="font-size:10.0pt;line-height:105%;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">OUT NOW:
<b><i>Philippe Grandrieux: Sonic Cinema</i>, New York: Bloomsbury, 2017) Order <a href="http://www.bookdepository.com/Philippe-Grandrieux-Greg-Hainge/9781628923124?a_aid=greghainge">
<span style="color:blue">here</span></a>. </b><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">PODCAST: Interview on Radio National on Grandrieux
</span><span style="font-size:10.0pt;font-family:"Arial",sans-serif;mso-fareast-language:EN-AU"><a href="http://www.abc.net.au/radionational/programs/finalcut/unrest/8683606">here</a></span><span style="mso-fareast-language:EN-AU">.</span><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">
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<p class="MsoNormal" style="line-height:105%"><span lang="EN-US" style="font-size:10.0pt;line-height:105%;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">STILL AVAILABLE:
<b><i>Noise Matters: Towards an Ontology of Noise</i>, <o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height:105%"><b><span lang="EN-US" style="font-size:10.0pt;line-height:105%;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">New York: Bloomsbury, 2013. Order
<a href="http://www.bookdepository.com/Noise-Matters-Greg-Hainge/9781441111487?a_aid=greghainge">
<span style="color:blue">here</span></a>. </span></b><span lang="EN-US" style="font-size:10.0pt;line-height:105%;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
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<span lang="EN-US">a Bloomsbury Academic book series, co-editor. </span></span><span style="mso-fareast-language:EN-AU"><o:p></o:p></span></p>
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Editor.</span><span lang="EN-US" style="color:#1F497D;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
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Editor. </span><span lang="EN-US" style="color:#1F497D;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
<p class="MsoNormal"><i><span lang="FR" style="font-size:7.5pt;font-family:"Arial",sans-serif;color:gray;mso-fareast-language:EN-AU">Etudes Celiniennes</span></i><span lang="FR" style="font-size:7.5pt;font-family:"Arial",sans-serif;color:gray;mso-fareast-language:EN-AU">
Editorial Board. </span><span lang="FR" style="color:#1F497D;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
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</span></i><span lang="FR" style="font-size:7.5pt;font-family:"Arial",sans-serif;color:gray;mso-fareast-language:EN-AU">Editorial Board.
</span><span lang="FR" style="color:#1F497D;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
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