Download Collapse: Philosophical Research and Development. Unknown by Robin James Mackay, Dustin McWherter PDF

By Robin James Mackay, Dustin McWherter

Editorial creation through Robin Mackay
In Memoriam: Gilles Deleuze (1925-1995) through Thomas Duzer
Responses to a sequence of Questions by means of Gilles Deleuze
‘I think i'm a natural Metaphysician’: the results of Deleuze’s confirmation by way of Arnaud Villani
Subtraction and Contraction: Deleuze, Immanence, and topic and reminiscence. via Quentin Meillassoux
Blackest Ever Black via Haswell & Hecker
Mathesis, technological know-how and Philosophy through Gilles Deleuze
Malfatti’s Decade by way of ‘Incognitum’
Aiôn and Chronos: Deleuze and the Stoic conception of Time by means of John Sellars
Matisse-Thought and the stern Quantitative Ordering of Fauvism through Éric Alliez and Jean-Claude Bonne
Unknown Deleuze via Mehrdad Iravanian
Another global by way of J.-H. Rosny the Elder
Speculative Realism via Ray Brassier, Iain Hamilton furnish, Graham Harman, Quentin Meillassoux

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Additional resources for Collapse: Philosophical Research and Development. Unknown Deleuze and Speculative Realism

Example text

It abbreviates a natural complexity into a cultural simplicity. For the choice to be a choice, it must restrict the field, it must effect a passage from a volume to a surface, from a surface to a line, from a line to a point. But let us admit that complexity can be compacted or abbreviated into a point without being lost (the thematic of naturing-nature) and that once the eye, the sluice, the threshold, is passed, it will redeploy itself by spacing itself out, by once again taking on volume. Let us admit then that choice will no longer be a matter of fleeing complexity or of making ‘difference expire’, and refuse to harden airêsis (the differing choice) into an unpardonable heresy, or the divergent political position into a one-way ticket to the scaffold or the gulag.

This would necessitate, for example, an elucidation of what Deleuze means by ‘plane of immanence’ or ‘chaos’. 3 But there is a second way of approaching this text, and it is this alternative that we shall pursue here. 4 In what, then, does this reading consist? No longer in trying to understand the text in question on the basis of a 2. , 48-9. Translation modified. 3. Cinema 1: The Movement-Image, Chapters 1 (3-12) and 4 (58-72). 4. Although this article is concerned with the link between Matter and Memory and Deleuze’s philosophy, we will make no further reference to the analyses in Cinema of Bergson’s masterwork, and the reader may, quite rightly, be surprised at this.

It would seem that Deleuze dedicated a large part of his work to inquiries concerning this passage. And if he said that I ‘mediterranianised’ him,14 it is because he must have felt how this inquiry led back – for me, in any case – to Greek thought. Consider firstly to what extent he privileged in Spinoza active passions, in Nietzsche active forces. Examine the concept which he borrows, in fine Deleuzian fashion, from Spinoza: expression. It could be summed up by speaking of ‘that which follows from the necessity of a nature’.

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