Notes on Christian Jambet & the Question of the One

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If there is one conviction shared by the majority of contemporary philosophers, this is it: the one is not [l’un n’est pas]. . .Once affirmed, this conviction converts smoothly into various systems of thought, until either every attestation of the real is renounced, or at least until the real is thoroughly separated from its theological identity with the one. . .Whatever the merits of this decision may be, its unavoidable consequence is to conceal what is at stake, metaphysically, when the mind acknowledges that the highest power resides in the one. [1]

“Que peut la philosophie? « cette pensée avec laquelle on ne peut essentiellement rien entreprendre et à propos de laquelle les servantes ne peuvent s’empêcher de rire (Heidegger). Je suis voué à l’impuissance traditionnelle de la philosophie, plus simplement de la vie contemplative. Longtemps prisée en Occident comme le privilège, la meilleure part de l’homme, ce dont tout être qui mérite le nom d’homme ne peut être privé, ce par quoi l’on touche à l’éternité, cette heureuse impuissance a vu son sens renversé. Thalès ne vaut plus la servante. La vérité, séparée de la vie, ne vaut pas la vie qu’elle contribue à opprimer. [2]

Y a-t-il une philosophie française?

It would seem that Christian Jambet’s intervention in the history of philosophy have largely escaped the attention of the Anglophone reception of  contemporary “French philosophy.” Hence the importance of Peter Hallward’s reflections on Jambet’s life and work in his 2003 introduction to Jambet’s ‘Some Comments on the Question of the One’ published in Angelaki. [3] For Hallward, this relative neglect of Jambet’s work is a disservice to ourselves and to the image of French theory/philosophy that continues to be faithfully passed down within academia – especially given a person who was influenced by “Mao and Lacan” while also serving as “the translator of Rumi and Oscar Wilde” and “an attentive reader of Foucault, Deleuze, and Badiou.” Given this range and diversity of Jambet’s thought, and as Hallward puts it, Jambet quite frankly “makes mainstream work in comparative philosophy look positively parochial” [4] and constitutes a blindspot regarding our understanding of the developments specific to the French tradition.

According to Hallward, Jambet’s intervention can be understood as constituted by its two main concerns: revolution and philosophy. Regarding the latter, Jambet defends a view of philosophy, not as the pursuit of knowledge or opinion, but as the reflexive undertaking that, when applied to oneself (“an entering into discord with oneself”), transforms both the subject and its image of thought. That is, philosophy is to be found in all those acts, which pursue a line of inquiry that is also defined by its qualitative break with every prejudice and acculturated habit that is recognizable by its belonging to a certain ‘common sense.’ As Hallward writes: “a genuine “philosophical act takes place when its subjects overturn their conception of the world,” when, breaking with prejudice or habit, they devise ways of thinking along lines indifferent to all received representations of the world. Philosophy…is a reflexive work of transformation applied upon oneself…so as to accord with a way of thinking that holds, in principle for anyone at all.”[5] For Jambet, what is at stake in the practice of philosophy is the transformation of the thinking subject such that this subject’s mode of thought is marked by a break with those forms of thought sustained by either tradition (“good sense”) or convention (“common sense”).

Qu’est–ce que la revolution?

Given Jambet’s experiences as a member of the Maoist groups Union des Jeunesses Communistes and Gauche Prolétarienne and ultimate disappointment with the direction taken by Maoism in both China and France, he returns to and refashions a theory of revolutionary subjectivity (as developed in his text L’Ange from 1976 and furthered in his 1978 work Le Monde) which allows him to begin theorizing revolution as a “spiritual affair” – a revolution whose “most immediate enemies are those…who seek to harness its forces to merely social or historical ends.”[6] However, we should not understand this spiritual definition of revolution as a regression or inherent mysticism regarding Jambet’s political thought. Rather, for Jambet, revolution belongs to the category of Spirit precisely because it is Spirit that is said to be the locus of the genesis of novel forms of both thinking and living. This revolutionary spiritualism opposed to a theory of revolution bound by the dictates of History (world), says Hallward, allows Jambet to directly address what is at stake in both emancipatory politics as well as the history of Islam:

“Jambet’s decisive encounter with Corbin…is what determined him to look for such points of reference primarily in esoteric Shi’ite philosophy, in which the struggle between world and spirit (between a literal and law-bound conception of the Qu’ran and one that urges the invention of new forms of interpretation) is particularly acute. The question posed today by the likes of Khomeini and bin Laden is the question that has divided Islam from the beginning: is God’s will essentially mediated by rules and institutions and thus caught up in the enforcement of law, or “is God creative freedom, pure spontaneity, such that true believers express this divine freedom in their own spiritual practice,” as so many instances of “boundless spontaneity”?” [7]

So, for Jambet, revolution is decidedly ‘spiritual’ insofar as it is precisely those instances which belong to Spirit that are also acts/moments/thoughts/lives/etc., that realizes that novel and creative force, which expresses, not the relative and particular intentions of human agents, but the logic of that which can only be said to be absolutely free, creative, and spontaneous. If Revolution no longer answers to the demands of realizing historical institutions such as law, or the state, this is because to do so would ultimately mean reversing the relation between the absolute and what is relative to it – which, as Hallward notes, when translated in practical terms is a reversal defined by the very agendas set forth by Khomeini and bin Laden since each, in their own way, valorize a policing relation based on a ‘literal and law-bound conception of the Qu’ran’ (a metaphysical reversal whose political correlate is categorized as World). So, if revolution is to mean anything it must necessarily be so many instances (i.e. so many moments of a coming-into-being and in accordance with substance and attributes of which it is an expression) of the divine attribute of “boundless spontaneity.” And in this manner, says Jambet, revolution is nothing if not a spiritual affair.

However it is at this point in Jambet’s reconsideration of the fundamental features of revolution that we would be right to ask the following: what leads Jambet to think revolution from the vantage point of a substance based metaphysics? What is it that compels Jambet to deny the dictum that l’un n’est pas [the one is not] and to recuperate the existence of ‘the One’? In any event, it is the radical transformation of oneself and the world that remains at stake. And as Jambet will show, it is only by virtue of ‘the One’ that (i) Thought has access to the reality of revolution just as (ii) it is by virtue of ‘the One’ that revolution becomes a real possibility in Practice.

So, on what basis is Jambet able to claim that Revolution is only said of Spirit and not of the World? On what grounds does Jambet’s theory of revolution avoid turning into a politics founded upon an underlying mysticism and whose subject is characterized by a properly agnostic paralysis; or a less prosaic variant of a heavily mediated idealism? These questions become all the more serious since Jambet’s position seems to go against the very method (historical materialism) that allowed Marx and Engels to develop a theory of revolution whose promise was the universal emancipation of humanity. So, all of this is to ask: ‘can revolution be accomplished in thought and action if we abjure our relation History, which would be, for Jambet, an attribute, not of Spirit, but of the World?‘ On this point Hallward is again instructive since, for Jambet, revolution undoubtedly belongs to ‘Spirit’ insofar as its defining characteristics are only many expressions, or emanations, of its attributes:

“Any conception of spirit as absolute creativity must have at least three fundamental attributes…In the first place (for reasons similar to those embraced by Spinoza)…an unlimited creative force can only be singular, unique…In the second place (for reasons similar to those embraced by Hegel)…pure creativity can only be thought as subject rather than an object, and the only subject adequate to the One is God himself…In the third place, then (for reasons similar to those embraced by Bergson), we ourselves can know God only in so far as God thinks through us…The only true principle immune to radical doubt here is not “think” but “I am thought (by God)” – cogitor rather than cogito.”[8]

 

endnotes
[1] Christian Jambet, ‘Some Comments on the Question of the One,’ Angelaki vol. 8, no. 2, (August, 2003), 36-41, 36.

[2] Christian Jambet, Apologie de Platon. 11.
[3]For more see Hallward’s introduction in Angelaki vol 8, no. 2, August 2003, 33-35.
[4] Ibid, 33.
[5] Ibid.
[6] Ibid.
[7] Ibid, 34.
[8] Ibid.

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The Girl With the Bomb, The Guardian of Dynamite: Notes on the politics of becoming-woman

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Excerpt from a piece on D&G, gender, struggle, and communism as the ‘real movement’ of abolition

1. Identifying the Girl of Russian Terrorism

In the tenth chapter of A Thousand Plateaus, ‘1730: Becoming-intense, becoming-animal…’, one is presented with a sequence of memories drawn from such a diversity of individuals and conceptual-personae that the sequence itself appears to make very little sense if read as one single extended argument for Deleuze and Guattari’s particular understanding of becoming. In place of the expected rational demonstration of the being and function of becoming, what we encounter instead are the memories of a Spinozist, a theologian, a sorcerer, and a plan(e) maker, among others. However, buried near the middle of the chapter, in the section entitled ‘Memories of a Molecule‘, where we encounter a discussion on the role of becoming-woman and the figure of the (universal) girl as they relate to both becoming in general and becomings within the domain of politics and history, our authors briefly, though suggestively, pose the question of “[T]he special role of the girl in Russian terrorism: the girl with the bomb, the guardian of dynamite?[1]

While it is clear that, at least for Deleuze and Guattari, the girl of Russian terrorism played the role of the guardian of the bomb and of dynamite, what is not at all clear is the reason for why they attribute this special role to the girl in the first place. Is it simply a case of elevating what is particular (in this case to Russian history) in order to treat it as a general principle or maxim? And should it not strike us as strange that Deleuze and Guattari give any example at all–let alone that of the girl of Russian terrorism–since it would present what is tempting in the error of conflating becoming with imitation or role-play, and instead of employing the girl as the means of instituting a break with one’s present material conditions (and which one of us hasn’t encountered a situation where they start to desire, whether from desperation or insomniac exhaustion, a revival of the Red Army Faction or Red Brigades? Or succumb to the hallucination that abolishing capital can be achieved simply through replicating the structure and organization created by the Zapatistas or even the YPG?).

One possible interpretation would be to try and locate the reasons and causes that lead Deleuze and Guattari to attribute speciality to this ‘role of the girl in Russian terrorism’ wholly within the political movements and traditions of Russia itself. The temptation of this reading is that it’s method leads one directly to a rich and largely forgotten dimension of the individuals and organizations that helped pave the way for the atmosphere of the 1917 revolution. Proceeding in this manner, one immediately encounters lives women such as the one of Maria Spiridonova:

On 16 January 1906 at the Borisoglebsk railroad station in Tambov province, 21-year-old Mariya Aleksandrovna Spiridonova, daughter of a non-hereditary noble and member of the Socialist-Revolutionary (SR) Party, shot and fatally wounded provincial government councilor Gavriil Nikolaevich Luzhenovskiy, the security chief of the Borisoglebsk district as well as a leader of the Tambov branch of the right-wing Union of the Russian People. The Tambov SR committee had sentenced Luzhenovskiy to die “for his criminal flogging to death and excessive torturing of peasants during the agrarian and political dis- orders” of the autumn of 1905, as Spiridonova afterward explained in her deposition to Tambov court authorities. “In full agreement with this sentence and in full consciousness of my action,” she stated, “I took it on myself to carry out this sentence.”[2]

However, as an unintended consequence of this view is the very discovery that what was so special about the girl of Russian terrorism is the simultaneous neutralization of her haecceity. For if this quality only belongs to Russian terrorism between the late 1800’s and early 1900’s, what are we to understand when Deleuze and Guattari write that they are “certain that molecular politics proceeds via the girl and the child”?[3]

Alternatively, one could read this ‘girl of Russian terrorism,’ and that function proper to her and her alone, as a function relative to the more general war-machine of which it is said. That is to say, the part played by this girl of Russian terrorism can also be found in struggles outside of the Russian context. Consequently, the special role would simply arise from the requirements of any struggle undertaken against the State. On this view, what is special about the girl exceeds the historical cases of armed struggle and direction action against a Tsarist State that one may find in Russia at the end of the 19th or beginning of the 20th century. What is special to the girl in Russian terrorism is only what allows her to institute becomings in the midst of overall capture by the State and its generalized stratification in accord with the universal axiom of capital (produce for the market). As Deleuze and Guattari put it, “The girl is like the block of becoming that remains contemporaneous to each opposable term, man, woman, child, adult. It is not the girl who becomes a woman; it is becoming-woman that produces the universal girl.”[4] 

The salient function proper to the girl of Russian terrorism, then, is the fact that she functions as that which maintains or initiates processes of destratification, deterritorialization, molecular becomings, and searches for what is potentially liberatory within lines of flight. Thus, it is true that the quality proper to this girl of Russian terrorism is a general feature of the kind of subjectivity defined as a war-machine; it is seen in every action taken by the war-machine and confront the (actual or virtual) State by means of what Deleuze and Guattari call ‘the three virtues’: the impersonal, imperceptible, and indiscernible. If only to further emphasize the irreducibility of the girl’s significance with respect to the historical and material conditions at the turn of the century Russia, we turn our attention to another instance where we encounter, once more, this special role of the girl (but now as a literal instantiation of the girl as the guardian of explosives): the anti-colonial struggle undertaken by the Algerian National Liberation Front (F.L.N.).

2. When becoming-woman transforms into collective imperceptibility

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With the F.L.N., we encounter once again the phenomena of how girls with bombs act as partisans of an anti-colonial war-machine. In other words, if the girl of Russian terrorism effectuates a becoming-woman that is also at work in the context of the F.L.N.’s struggle against Algeria’s colonial occupation by France it is because becoming-woman is fundamentally an attribute belonging, not to any particular historico-political movement, but to the deterritorializing function of the war-machine wherever it takes hold. It is only by understanding how it is only in the presence of a war-machine that we may speak of becoming-woman as one of its constituent parts. It is in this way that we get a better sense as to why Deleuze and Guattari claim that the becomings that constitute political struggles against the State find ‘their necessary condition [in] the becoming-woman of the warrior, or his alliance with the girl, his contagion with her’; to understand why it is that ‘the man of war is inseparable from the Amazons.’[5] 

In scenes such as the one above, taken from Pontecorvo’s The Battle of Algiers, Pontecorvo shows his audience how F.L.N. women succeed in infiltrating the French quartiers of Algiers–a task made especially difficult since these areas of the city were surveilled and protected by French police checks. Thus, this scene’s significance is due to its depiction of the necessary relationship between the girl-as-guardian-of-the-bomb and the war machine in itself. And regarding such scenes, Peter Matthews formulates the function of the FLN women as follows:

The acid test of this comes in the unforgettable sequence where three Algerian women plant bombs at various crowded hangouts in the French quarter. Masquerading as loose-living Europeans, carrying mortality in a shopping basket, they would be sinister femmes fatales in another context…If we can accept the grievous necessity of these deaths, then we consent to everything. Pontecorvo has penetrated our Western self-absorption and let in the harsh light of reality.[6]

Now, aside from the fact that Matthews’ sentimentalism regarding the actions of the three Algerian women, his is a reaction that is of no use for understanding the relationship between gender, sex, and revolutionary struggle. It must be said, however, that what we find misleading in Matthews’ account of the FLN’s very own ‘femme fatales’ is the claim that affirming the violence enacted by the FLN means that we affirm a politics that ‘consents to everything’ by necessity. Allying with the FLN isn’t to consent to a situation where anything is permissible. Rather, the logic of the FLN war machine is precisely the logical steps colonized subjects must take for their collective emancipation.

The horror that ‘we consent to everything’ simply masks the fact that it is only by going to war that the colonized has any chance at liberation. Thus, more than some fear regarding the loss of morality in colonial contexts we are obliged to underscore the reappearance of that ‘special role of the girl’ Deleuze and Guattari found in Russian terrorism. Now, however, this girl finds herself far from Russia and on African shores; here she runs and hides in the alleyways of the casbah in order to evade capture and continue the anti-colonial struggle. And what of becoming-woman in all this? And the ‘special role’ of the girl related to the aims of the war machine? If it is the case, as D&G claim, that waging war is the best means of warding off state, then the function of becoming-woman is to aid the war machine in ensuring the non-existence, or abolition of, the State:

just as Hobbes saw clearly that the State was against war, so war is against the State, and makes it impossible. It is should not be concluded that war is a state of nature [an error that grounds Matthews’ fear], but rather that it is the mode of a social state that wards off and prevents the State.[7]

Unlike Matthews, D&G understand it as imperative, in the confrontation between the FLN and the colonial violence of France, to differentiate the actions of each from the other in order not to confuse or conflate both. Consequently, for D&G, this means that we lack any right/legitimacy in saying that only a state of nature exists (as implied by Matthews) between the war machine and the State since it’s a confrontation the nature of which ‘consents to everything’; a confrontation wherein the actions of both the FLN and France can only be treated as having equal ethico-political value. If the FLN constructed its own war-machine and correlating becoming-woman, it means, then, that the actions of the FLN and France are not only unequal; more importantly, they are incommensurable with each other. As seen in the passage above, it is the State that seeks to prevent war while it is the war machine that seeks to prevent the existence of States. If the actions of the FLN and the State cannot be treated as equal, it is because their respective political projects involve the mutual exclusion of their opposite. While it may be the case, objectively speaking, that the colonial context held open a number of possible resolutions to anti-colonial struggles (liberation, neo-colonialism, genocide), for the FLN liberation was always the only legitimate option.

 

 

 

Endnotes

[1] Deleuze and Guattari, A Thousand Plateaus, p. 277
[2] Boniece, ‘The “Shesterka” of 1905-06’
[3] ATP, p. 277

[4] Ibid.
[5] ATP, p. 278
[6] Matthews, ‘Bombs and Boomerangs’
[7] ATP, p. 357

The Human Strike and The Politics of Escape

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Transcript of a short talk I gave @ b-books for the German book launch of Dark Deleuze in Berlin. 

Introductory Remarks

The terms of escape, opacity, and indiscernibility are perhaps three of the most essential concepts that constitute the lexicon of Dark Deleuze; a lexicon that seeks to refute and replace the consensus of Deleuze as a thinker of affirmation, of joyous affects, and lover of rhizomes. If this is so, readers may find the text’s development of these terms merely suggestive, especially since the notion of escape is given its most interesting treatment in the final passages of the text’s concluding chapter. However, as I hope to show, these concepts of escape, opacity, and indiscernibility, gain in significance insofar as we understand them in relation to the interlocutors Andrew brings together in his reading of Deleuze; and particularly the work of the Paris based art collective Claire Fontaine (and to a lesser extent Tiqqun) whose names appear at key moments in the development of this politics of escape.

1. Escape, Opacity, Indiscernibility


To begin, we can ask the following question: how are we to understand a politics of escape in light of Dark Deleuze’s argument that Deleuze, has always been, a partisan of the anti-state communist tradition? At the outset we can say that escape is not to be confused with some generalized notion of deterritorialization or even with Deleuze and Guattari’s concept of lines of flight. To escape requires lines of flight, but the two are not one and the same. For Andrew, escape is given a decidedly political inflection where lines of flight pertain to the objective tendencies of the world that, if taken to their logical conclusions, force a qualitative change of the situation:

Escape is never more exciting than when it spills out into the streets, where trust in appearances, trust in words, trust in each other, and trust in this world all disintegrate in a mobile zone of indiscernibility (Fontaine, ‘Black Bloc’). It is these moments of opacity…and breakdown that darkness most threatens the ties that bind us to this world. (Dark Deleuze, 70)

Regarding this passage it is worth noting the reference to Claire Fontaine and her writing on the black bloc, which suggests to the reader that between Fontaine and this Dark Deleuze there is something in common. What both Fontaine and Dark Deleuze hold in common is their antipathy toward those who envision the task of Thinking being one of adequate description, or the verification of conceptual representations. In contrast to these positions that equate thinking with representing/describing the world, Fontaine and Deleuze assert that before all else Thinking is a response to a problem whose nature is political. Or as Deleuze and Guattari write in the 8th chapter of A Thousand Plateaus, ‘…politics precedes Being’ (ATP, 203). Additionally, and perhaps more importantly, the reason for the reference to Fontaine’s work is because it is Fontaine who develops a key distinction that is implied in Dark Deleuze’s conclusion and one that will allow us to understand how the three terms of escape, opacity, and indiscernibility relate to one another. In her essay ‘This is not the black bloc’ Fontaine distinguishes between what is ontologically indiscernible and that which is politically indiscernible. As she writes:

A distinctive feature of one who finds themselves in what we call a black bloc is to demand nothing for themselves or for others, to cut across public space without being subjected to it for once, to disappear in a mass or factory exists and public transportation at rush hour…In this night where all demonstrators look alike there is no point in posing Manichean questions. Especially since we know that the distinction between guilty and innocent no longer matters, all that counts is the one between winners and losers. (Claire Fontaine, ‘This is not the black bloc’)

A world of difference, then, keeps apart the fabled ‘night in which all cows are black’ from the night of insurrection ‘where all demonstrators look alike’. Regarding the former, we find ourselves disabled in the face of pure immediacy. In this situation, there is nothing about the world that allows us to distinguish something from anything else; a cause from its effect; a principle from its consequences. However, in the night where all demonstrators look alike, we find ourselves enabled in our confrontation with capital’s imposed daily rhythm and its state apparatuses of capture. For example, while one may ordinarily be subjected to ‘random’ stops by the police or even the violence that always arrives at demonstrations, the indiscernibility of the black bloc affords this mass of individuals more opportunities for attack and resisting arrest than if they were to assume the transparency model of peaceful protest and orderly conduct. Fontaine continues:

Continue reading “The Human Strike and The Politics of Escape”

‘Concrete Rules and Abstract Machines’ (some notes & comments on Brassier’s talk at the ‘A Thousand Plateaus and Philosophy’ London Workshop)

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[What follows is a summary of, and some comments on, Ray Brassier’s talk regarding the final chapter of A Thousand Plateaus. Delivered in London, 2015, at the A Thousand Plateaus and Philosophy Workshop]

At the very least one can confidently say that the reputation of A Thousand Plateaus precedes itself. At times, its reputation even precedes a reader’s first encounter with the text itself. And in light of ATP‘s repute, one of the features of this text that is known by all is that its authors have written the book in such a way that a reader can skip ahead or begin from the middle of whatever plateau grabs their interest. We are told that ATP is a book written to liberate its audience and to affect us so that we feel free to pick and choose where the story begins and ends. As Massumi himself notes in his translator’s forward, reading ATP is best done in the same way one listens to a record:

“When you buy a record there are always cuts that leave you cold. You skip them. You don’t approach a record as a closed book that you have to take or leave. Other cuts you may listen to over and over again. They follow you. You find yourself humming them under your breath as you go about your daily business. A Thousand Plateaus is conceived as an open system…The author’s hope…is that elements of it will stay with a certain number of its readers and will weave into the melody of their everyday lives” (ATP, xiv).

Despite the kernel of truth in Massumi’s record metaphor (the element of truth being that it is the case that throughout the chapters of ATP Deleuze and Guattari remain consistent in their use of specific terms and concepts and thus develop a unifying thread throughout all the plateaus that renders a one’s decision of abrupt beginnings and endings of little consequence), to overemphasize this staggered and haphazard approach to ATP is to elide one of it’s most fundamental features; a feature that Brassier will seek to highlight in his reading of the final chapter, ‘Concrete Rules and Abstract Machines.’

For Brassier, there is in fact a fundamental or privileged plateau: namely, the chapter on the Geology of Morals. Why? Because when Deleuze and Guattari conclude their text with a set of concrete rules for effectuating specific abstract machines, they base this final chapter on the very logic of double articulation develop in the Geology of Morals plateau. For Brassier, what’s striking when one reads ATP is the consistency with which Deleuze and Guattari use their vocabulary. Thus, despite the appearance of a proliferation of concepts tied to particular sets of practices (art, science, philosophy, literature, psychoanalysis, etc.), the concepts developed throughout ATP in fact constitute a unified logical system. Thus, says Brassier, it is the logical and conceptual relationship between double articulation and the final chapter that gives the lie to the kinds of readings of this text that fall in line with Massumi’s prescribed approach. However, before directly engaging with the relationship between double articulation and the final chapter of ATP, Brassier spends some time clarifying Deleuze and Guattari’s text in relation to other philosophical positions, and specifically in relation to those philosophies that lay claim to the title of materialism.

I). What is it that makes rules ‘concrete’ and machines ‘abstract’?

For Brassier, Deleuze and Guattari’s materialism is neither a contemplative representation of a pre-existing material reality, nor a series of practical imperatives that presupposes and yet disavows a theoretical representation of the world. For all its idiosyncrasy, ATP is a very classical work – where ontology is at one with ethics. This is not to say that it is a conservative work. Rather, it is a contemporary reactivation of the classical task of philosophizing: a fusion of understanding what there is and how to live (what we should do). The title of the last chapter, ‘Concrete Rules and Abstract Machines,’ gives Brassier a hint at how Deleuze and Guattari reconceive of this classical aim of philosophizing. Namely, by developing what Brassier terms an ‘abstract materialism’ (unformed matter) in tandem with a ‘concrete ethics’ (practical prescriptions for action selected independently of universal law). Thus, the question Brassier aims to clarify and explain is this: how can concrete practices engage formless matter? This is another way of asking about the relation between the ABSTRACT (machine) and the CONCRETE (actions); or, in Deleuze and Guattari’s language, between the UNFORMED (i.e., matters/flows that characterizes the plane of consistency) and the EFFECTUATED (i.e., how concrete rules develop the abstract machine enveloped in the strata/stratification).

Continue reading “‘Concrete Rules and Abstract Machines’ (some notes & comments on Brassier’s talk at the ‘A Thousand Plateaus and Philosophy’ London Workshop)”

Deleuze, Patton, and Godard go to the Cinema

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Jean-Pierre Léaud and Anne Wiazemsky, La Chinoise (1967)

The aim of this essay is to interrogate the relationship between Idea-problems, creativity, and the society of control as undertaken by Deleuze (within philosophy), Godard (within cinema), and Paul Patton (philosophy and cinema). It will be shown how Deleuze’s understanding of the relation between Ideas, creativity, and control differs in important ways from Patton’s interpretation of Deleuze’s thought on cinema. On Patton’s reading, the pessimism Godard expresses regarding gender roles in Sauve Qui Peut (La Vie) is merely a pretext for a redemptive reading of a becoming-woman, which prescribes an ethico-aesthetics of an “affective optimism and affirmation of life. (additionally – it is because Patton applies Deleuzean concepts to Sauve Qui Peut, that I term this an ‘affirmationist’ interpretation). Thus, what is essential according to Patton’s reading of Deleuze’s thinking regarding cinema is the following assertion:

“Deleuze and Guattari accord an ethical and ontological priority to those modes of existence which allow the maximum degree of movement, for example, forms of nomadism or rhizomes. In this sense, their philosophy embodies a vital ethic which affirms the creative power of life, even if this is something a non-organic life tracing the kind of abstract line we find in art or music.” (Patton, ‘Godard/Deleuze: Sauve Qui Peut)

As we will see, Patton’s interpretation of Godard, and use of Deleuze, simply reintroduces Platonism back into the heart of Deleuze’s thoroughly anti-Platonist commitments – whether considered within the domain of philosophy, art, science, or politics. By grounding Deleuze’s vitalism on the principle of life’s inherent creativity, Patton proposes a “Deleuzean” ethics and politics whose fundamental aim is the application of these metaphysical, social, and aesthetic principles (becoming-x, lines of flight, and so on) within the domains of art and politics. And it is precisely this idea of taking what is metaphysically True as the means and application what is aesthetically and politically Good, that is the trademark of Platonism. It is for this reason that we will claim that Patton reintroduces Platonism back into Deleuze’s strict anti-Platonism.

-THE AFFIRMATIONIST INTERPRETATION-

So what are we to make of Patton’s claim that Deleuze and Guattari give ethical and ontological priority to modes of maximizing one’s degrees of movement (rhizomes, nomads), such that this priority is tantamount to an affirmation of the creative powers of life as such? On Patton’s reading, what is key for understanding Deleuze’s relationship to cinema is his lasting commitment to the priority of a maximization of joyful encounters over and against the secondary fact of what is created in the process itself. The affirmationist interpretation categorizes the ‘creative powers of life’ as the principle of revolutionary aesthetic and political praxis and relegates life’s products as the consequence of what exists as ontologically, artistically, and politically prior. Thus Godard’s Sauve Qui Peut (La Vie), which Patton reads as emblematic of Deleuze’s aesthetic theory, is presented as a meditation on the ambiguities at the heart of masculine and feminine social roles; or, better still, as a presentation of gender as a zone of indistinction where the norms that underpin the gender binary are called into question. For Patton, it is precisely the unresolved dilemma regarding masculine social norms that gives one the impression of Godard’s pessimism regarding young men in post war France. However, this pessimistic impression of masculinity is only a pretext for the optimism that lies in the potential of a becoming-woman. As Patton writes,

“this pessimism about the male condition is not only circumscribed but contrasted with an optimism about life, albeit a life which has become feminine…The result is an affective optimism and affirmation of life which attaches itself above all to images of women engaged in an active becoming of their own.”

Thus, what first appears as Godard’s pessimism is simply indicative of a more fundamental optimism; an optimism that requires an affirmation of the becoming-woman at the heart of the dilemma of masculinity as such. Moreover, this becoming-woman isn’t simply taken as the becoming-minor at the heart of the molar identities of masculine/feminine. By invoking the Godardardian principle, ‘not just ideas, just ideas’, Patton reads this becoming-minor as being  privileged by Deleuze and Guattari since lines of flight and becomings are creative in themselves and harbor the potential for transformation and novelty. For Patton, a cinema or politics that operates by way of correct ideas (just ideas), as opposed to just having ideas, tends toward the ossification of power and the repetition of all the pitfalls already exhibited by historical communism. That is, Deleuze and Guattari view correct ideas as privileging “conformism and dogmatism.” Thus, according to Patton, they maintain “a rejection of any subordination to intellectual authority which inhibits creativity.”

This is the crux of the affirmationist interpretation: lines of flight, becoming-minor, rhizome-books, and so forth, are taken to be axiomatic to Deleuze (and Guattari’s) understanding of aesthetics, ethics, and politics. For Patton, anything that inhibits the creative potential of these lines of flight is seen as reactionary pure and simple. While Patton’s interpretation contains some kernel of textual truth, errors arise insofar as Deleuze and Guattari are interpreted as valorizing becoming and transformation for its own sake and on the basis of the idea that the creative powers of life are the ethico-political guideposts for aesthetic and political practices.

The affirmationist interpretation correctly highlights Deleuze’s emphasis on ambiguity, lines of flight, and the inherent quality of resistance in artistic production. However, this interpretation misconstrues how Deleuze views the emancipatory potential of each of these categories within cinema itself. That is, and against the affirmationist interpretation, not only does Patton commit himself to an approach to cinema that Deleuze explicitly rejects (applying concepts from outside cinema, and in this case from the Deleuzean corpus, to bear on cinema itself); Patton misunderstands Deleuze’s vitalism, which is in fact a theory of time and not a theory of some universal life force, and thereby conflates a faith in life’s inherent creativity with an aesthetico-political concept of resistance, change, and liberation. Regarding this discrepancy between vitalism as a theory of life or a theory of time, John Mullarkey’s genealogy of the vitalism Deleuze inherits from Bergson is crucial. As he writes,

“It takes only a little first-hand knowledge of Bergson’s texts to enable oneself to move beyond the stereotypical interpretation of Bergsonian vitalism as a notion regarding some mysterious substance or force animating all living matter. His theory of the élan vital has little of the anima sensitiva, archeus, entelechy, or vital fluid of classical vitalisms. This is a critical vitalism focused on life as a thesis concerning time (life is continual change and innovation) as well as an explanatory principle in general for all the life sciences” (‘Life, Movement and the Fabulation of the Event,’p. 53).

Thus, since Patton maintains that vitalism is a theory of life as opposed to time, his affirmationist interpretation simply perpetuates the idea that Deleuze satisfied himself with following whatever is the most deviant, the most subversive, and the most minor in philosophy, art, and politics on the basis that deviancy, subversiveness, and minority are desirable-in-themselves precisely because they are metaphysically guaranteed features of reality. On this view one affirms their becoming-minor and the subversiveness it entails simply because it accords to the higher metaphysical claim of life’s inherent creativity. That is to say, insofar as our aesthetic and political engagements exist as perfect copies of the metaphysical and vitalist principle of creativity, we can safely judge actions as aesthetically, ethically, and politically virtuous, or revolutionary. At this point we should pause to highlight at least 3 themes that are equivocated, which allow the affirmationist interpretation to function: vitalism, the affirmation of life as tantamount to the production of novelty, and the status of indeterminacy/indistinction as effected by cinema itself.

1. Vitalism

Deleuze’s ‘vitalism’ is not reducible to a theory about the inherent capacities of life as creative. Rather, it is a theory of the nature of time and time’s foundational relation to space. It is the problem posed by the nature of time, moreover, that is precisely what motivates Deleuze’s voyage into cinema. As he writes,

“Time is out of joint: Hamlet’s words signify that time is no longer subordinated to movement, but rather movement to time. It could be said that, in its own sphere, cinema has repeated the same experience, the same reversal, in more fast-moving circumstances…the post-war period has greatly increased the situation which we no longer know how to react to, in spaces which we no longer know how to describe…Even the body is no longer exactly what moves; subject of movement or the instrument of action, it becomes rather the developer of time, it shows time through its tiredness and waitings” (Cinema 2, p. xi).

The interpretation that sees a vitalism at work within Deleuze’s analysis of cinema is correct insofar as what is meant by vitalism is the problem posed by the nature of time to philosophy, art, politics, and science. It is for this reason that Bergson becomes an instructive thinker for Deleuze’s turn to cinema since what preoccupied Bergson, and what Deleuze finds at work in post-war cinema, is precisely the attempt to reverse the classical idea which thinks the reality of time as subordinate to, and dependent upon, the nature of space.

As Deleuze (following Bergson) makes clear the intelligibility of Life-in-itself is never grasped, as Aristotle thought, through the definition of time as the measure of movement in space; a definition which posits the essence and actuality of time as dependent upon space for its own existence. Thus, if time is not ontologically dependent on space as Bergson maintains; and if time is not reducible to the linear progression of the measure of movement; then this conception of time-itself requires a reconceptualization of the very lexicon of temporality: the past, present, and future. In Creative Evolution, Bergson gives his refutation of interpreting Life in terms of finality/final causes, and it is here where Bergson offers the means for a transvaluation of our temporal lexicon. On the ‘Finalist’ or teleological account of the reality of Time, the future finds its reality in the past and present, follows a certain order, and is guaranteed due to first principles. Thus, for the finalists, the future remains fixed and dependent upon the linear progression of time. For Bergson, the future is precisely that which does not depend on the linear progression of time for its own reality. In this way we can understand that for both Bergson and post-war cinema, the nature of time can no longer be understood as derivative of space as such.

Rather, time must now be thought as that which conditions the reality of movement and space. And this can be achieved in cinema, says Deleuze, precisely by doing something only cinema can do. That is, by film’s capacity to produce a disjunct between the visual and the audible aspects of film: “The relations…between what is seen and what is said, revitalize the problem [of time] and endow cinema with new powers for capturing time in the image” (C2, p. xiii). If the ‘vital’ creativity of cinema is fundamental for Deleuze’s understanding of cinema, it is the case only insofar as cinema provides us with the means to no longer think of time as subordinate to space but as the problem that motivates and determines space itself.  It for this reason that Deleuze will mark the shift from the movement-image to the time-image at the precise moment when cinema reformulated the problem posed to its filmic characters:

“if the major break comes at the end of the war, with neorealism, it’s precisely because neorealism registers the collapse of sensory-motor schemes: characters no longer “know” how to react to situations that are beyond them, too awful, or too beautiful, or insoluble…So a new type of character appears. But, more important, the possibility appears of temporalizing the cinematic image: pure time, a little bit of time in its pure form, rather than motion” (Negotiations, p. 59).

Thus, what motivates Deleuze to bring Bergson’s theorization of time to bear on cinema is precisely because what we discover (whether in Bergson or in cinema) is that time is both the object of Thought and cinema and the productive principle of any actualized and lived reality. Thus, the vitalist tendencies of Deleuze’s remarks on cinema should not be seen as a theorization of the creative powers of life. If vitalism is somehow a theory regarding what is principally creative within the world, it is not ‘Life’ but time-as-such that is creative. Moreover, what is produced by time-itself and cinema’s time-image is problematic in nature. Thus, not only is vitalism a theory about time (and not life); time-as-such does not produce something that can easily be judged as good or bad; virtuous or vicious. Rather, time produces problems for us; problems whose solutions can only be determined insofar as Thought and cinema pose the problem truthfully as opposed to preoccupying itself with false problems.

2. Novelty/Creativity

If Deleuze’s vitalism is a theory of time and the problem posed by Time for Thought and cinema, then the ‘creative powers’ attributed to this vitalism must also undergo redefinition. The interpretation of Deleuze’s aesthetic and political theory as one that seeks to adequate, in thought and praxis, Life’s inherent creativity and novelty fails to account for Deleuze’s anti-Platonism, where the relationship between models and copies is jettisoned for the relationship between simulacra and the Idea-problems to which they are indexed. As Deleuze writes in Difference and Repetition regarding the relationship between optimism and the relationship between Thought and its Ideas/problems:

“The famous phrase of the Contribution to the Critique of Political Economy, ‘mankind always sets itself only such tasks as it can solve’, does not mean that the problems are only apparent or that they are already solved, but, on the contrary, that the economic conditions of a problem determine or give rise to the manner in which it finds a solution within the framework of the real relations of the society. Not that the observer can draw the least optimism from this, for these ‘solutions’ may involve stupidity or cruelty, the horror of war or ‘the solution of the Jewish problem’. More precisely, the solution is always that which a society deserves or gives rise to as a consequence of the manner in which, given its real relations, it is able to pose the problems set within it and to it by the differential relations it incarnates” (Difference and Repetition, p. 186).

Thus, the idea of simply pursuing various lines of actualization vis-á-vis a specific set of Ideas/problems, thereby embodying the perfect copy of the creative potential of the problems posed to us by life itself, is seen as suspect by Deleuze himself if for no other reason than what is given to Thought in the Idea-Problem is every possible solution. Every possible solution includes, as seen in the passage above, both the horrors of fascism and the aspiration of social and political liberation.

If, as Patton encourages us to believe, Deleuze’s aesthetic/political theory simply amounts to affirming the novelty of life, we would commit ourselves to the position of accepting every solution to social and political problems. While it is true for Deleuze that Idea-problems pose every possible solution from the outset it is also the case that each possible solution to an Idea-problem can be actualized only on the condition that one solutions unfolding (explication) maintains an incompossible relation to all other solutions. Solutions to a problem, thus, are actualized according to their exclusive disjunction with an Idea-problems other possibilities. This thesis of incompossibility in regards to the relation between problems and their resolution is what is at stake when Deleuze writes:

“The I and the Self…are immediately characterised by functions of development or explication: not only do they experience qualities in general as already developed in the extensity of their system, but they tend to explicate or develop the world expressed by the other, either in order to participate in it or to deny it (I unravel the frightened face of the other, I either develop it into a frightening world the reality of which seizes me, or I denounce its unreality)” (DR, p. 260).

However, why have we said that Patton’s affirmationist interpretation reintroduces Platonism into Deleuze’s thought? For the following reason: once we understand that Deleuze’s vitalism is a theory of time and not a theory of life; and once we grasp that what time produces are Idea-problems prior to their resolution; the priority given to Idea-Problems by Deleuze can only be a priority of metaphysical and epistemic inquiry and not moral in character. Patton’s affirmationist interpretation, which takes Idea’s as a legislative-model for ethical, political, or aesthetic action reintroduces Platonism in the heart of Deleuze’s thought since the equation of metaphysics (Idea/model) with politics (claimant/copy) necessarily entails the logic of the good and bad copy, the true and false claimant. Patton’s reading reintroduces what is inessential to Ideas (moral criteria of judgment) back into their essence (qualitatively different claimants to an Idea), and thereby reduces what is truly creative for Thought (Problems) to something to be subjected to ready-made criteria (Image of Thought):

“This Platonic wish to exorcise simulacra is what entails the subjection of difference. For the model can be defined only by a positing of identity as the essence of the Same…and the copy by an affection of internal resemblance, the quality of the Similar…Plato inaugurates and initiates because he evolves within a theory of Ideas which will allow the deployment of representation. In his case, however, a moral motivation in all its purity is avowed: the will to eliminate simulacra or phantasms has no motivation apart from the moral” (DR, p. 265).

Thus, it is only by the confusion of the ontological and epistemic with the aesthetic and political, that Patton’s affirmationist reading reintroduces Plato’s moralism back into Deleuze’s philosophy of Difference.

3. Indeterminacy/Falsity

The third and final point regarding the status of indeterminacy/falsity in cinema as presented in the affirmationist approach can be seen in the following passage. For Patton, and regarding the status of normative gender roles in Sauve Qui Peut, Godard, “offers no solution to this dilemma of masculinity…Ultimately, this pessimism about the male condition is not only circumscribed but contrasted with an optimism about life, albeit a life which has become feminine…The result is an affective optimism and affirmation of life which attaches itself above all to images of women engaged in an active becoming of their own.” What is missing from Patton’s account, however, is the precise relationship between the indeterminacy of social norms as seen in Sauve Qui Peut as they relate to what cinema’s time-image achieves: namely, the power of falsity that reintroduces indeterminacy/indistinction (molecular) into that which remains determinate and distinct (molar). As Deleuze writes, “[T]he power of falsity is time itself, not because time has changing contents but because the form of time as becoming brings into question any formal model of truth” (N, p. 66).

Thus, if Godard resists resolving the dilemma of masculinity, it is not because there is no answer to the problem of hetero-patriarchy. Rather, it is because only by making the determinate/distinct into something indeterminate/indistinct that cinema moves beyond merely representing different solutions of a problem to the immediate presentation of the problem via the time-image. It is time (as the form of becoming) that creates the indistinct and undecidable character of the lived reality of hetero-patriarchy in Sauve Qui Peut; and Godard achieves this in cinema through a direct presentation of a problem over and against the presentation of its various solutions. Remarking upon this relationship between truth and falsity, indistinction and undecidability, Deleuze remarks,

“The real and the unreal are always distinct, but the distinction isn’t always discernible: you get falsity when the distinction between real and unreal becomes indiscernible. But, where there’s falsity, truth itself becomes undecidable. Falsity isn’t a mistake or confusion, but a power that makes truth undecidable” (N, p. 65-6).

The powers of the false; the immediate presentation of a problem; renders truth undecidable and the relation of the true and the false indiscernible precisely because this immediate presentation of a problem “brings into question any formal model of truth. This is what happens in the cinema of time” (N, p. 66). Just as the philosopher cannot hope for any optimism in their proper orientation toward Ideas, the filmmaker does not predict any certain or clear solution in their immediate presentation of a problem. For both philosopher and filmmaker, the true posing of Idea-problems troubles our ready-made models because, as Deleuze says of Godard in an interview, “the key thing is the questions Godard asks and the images he presents and a chance of the spectator feeling that notion of labor isn’t innocent, isn’t at all obvious.” Insofar as philosopher’s pose true problems and create concepts adequate to them; insofar as filmmakers present problems in their immediacy in terms of the time-image; each creates something which no longer allows others to treat ideas, concepts, or images as ready-made, neutral, and naturally given features of the world. The posing of true problems in thought and cinema is the genesis of a concept, or artwork, that disrupts our habituated modes of thinking, feeling, and approaching the world (i.e., the dogmatic image of thought). The power of falsification is cinema’s capacity to render what we take to be obvious, ready-made, or second nature as alien and no longer a fixed socio-political certainty. The powers of the false and a cinema of undecidability, then, are Godard’s means of effecting a becoming since he “brings into question any formal model of truth.”

So, if Sauve Qui Peut offers no solution to the problem posed by hetero-patriarchy and thus remains indeterminate; and if this problem reveals the condition of masculinity as being one that requires a becoming-woman; the indistinctness/undecidability of becoming-as-such is much more a counter-actualization rather than an actualization of a solution with respect to its problem. The main consequence of Patton’s equation between the (ontologically) True with the (ethically) Good or (politically) Just results in a case of misplaced concreteness; whereby Deleuze appears to valorize the simply extension/application of ontological truth into the realm of aesthetico-political activity. Here we find a Deleuze who would never have found troubling the moralism at the heart of Platonism; who never would have written that philosophers and filmmakers alike should follow the maxim that says “Don’t have just ideas, just have an idea (Godard).”

4. The Affirmationist Interpretation

Given what has been shown regarding the themes of vitalism, novelty/creativity, and ambiguity/falsity, we can summarize Patton’s affirmationist interpretation of Deleuze in the following manner: by treating vitalism as a theory of life and life’s inherent creative powers Patton proposes a Deleuzean ethics and politics whose fundamental aim is the application of metaphysical and epistemic principles (becoming-x, lines of flight, and so on) within the domains of art and politics. However, as we have seen, this interpretation reintroduces Platonism back into Deleuze’s strictly anti-Platonic thinking regarding the relationship between Ideas, the possible solutions they propose, and the thinkers relation to the two. It is for these reasons that he interprets ‘the creative powers life’ (Idea-problems) as ready-made criteria for the judgement between good and bad copies, between better or worse claimants to an Idea. Thus, on this reading of Deleuze, what is ‘True’ regarding the nature and structure of reality (inherent creativity of life) is also interpreted as what is ‘Good’ for individual and social life. And it is on this basis that Patton can claim that the essence of Deleuze’s political commitments can be summarized as a repudiation of anything that inhibits modes maximization of movement and creative powers.

Hence our nomination of Patton’s reading of Deleuze as Platonic by nature – when the True is also the Good we should know that we are not far from discovering a Plato in our midst. Additionally, even at the moment when Patton’s reading seems to gain most support from his analysis of gender roles within Godard’s film his proposal of a becoming-woman at the heart of a perceived pessimism regarding young men (while true) remains at the level of the most basic generality. In other words, lines-of-flight may give us insight into the available means for the subversion of power or the escape from control, but lines-of-flight are not inherently revolutionary. And it is this principle – that lines-of-flight, deterritorialization, smooth space are not inherently revolutionary – that Patton’s analysis leaves out. As Deleuze and Guattari constantly remind us, “smooth spaces are not in themselves liberatory” (A Thousand Plateaus, p. 500).

Thus, our suspicion of Patton’s interpretation stems from the claim that Deleuze’s preoccupation with Idea-problems is not simply a continuation of their Platonic ancestors.  On this affirmationist/Platonist interpretation, Deleuze appears to locate the creativity and novelty of art (and Godard’s cinema in particular) at the register of the cinematic representation of specific concepts (lines of flight, becoming-woman, becoming-minor). It is in this way that Patton reads the pessimism which Godard expresses regarding gender roles as a mere pretext for the redemptive theme of becoming-woman. And it is precisely the cinematic representation of the redeeming theme of becoming-woman that Patton takes to be Deleuze’s own prescription of an ethico-politico-aesthetics that can be adequately summarized as an “affective optimism and affirmation of life.” However, if philosophy and cinema are creative insofar as they can pose a problem correctly (falsification), an optimism or affirmation of life does not follow necessarily since it is precisely the distinction and determination of truth and falsity, the real and the unreal, that is rendered undecidable by problems themselves. The activity of philosophy and filmmaking follows a different outcome, whereby each individual cannot draw the least amount of optimism from solutions of the problem, since as Deleuze continuously reminds us, the solutions of a problem may involve stupidity or cruelty, the horror of war or ‘the solution of the Jewish problem.’

Bergsonian Science-Fiction: Deleuze, Eshun, and Thinking the Reality of Time

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“To be more precise, science fiction is neither forward-looking nor utopian. Rather, in William Gibson’s phrase, science fiction is a means through which to preprogram the present […] Science fiction operates through the power of falsification, the drive to rewrite reality, and the will to deny plausibility, while the scenario operates through the control and prediction of plausible alternative tomorrows.”

– Kodwo Eshun, ‘Further Considerations on Afrofuturism’

“A book of philosophy should be in part a very particular species of detective novel, in part a kind of science fiction…What this book should therefore have made apparent is the advent of a coherence which is no more our own, that of mankind, than that of God or the world. In this sense, it should have been an apocalyptic book (the third time in the series of times).”

– Gilles Deleuze, Difference and Repetition

This short essay aims to draw a single connection, along the theme of time, between Kodwo Eshun, Gilles Deleuze, via their shared Bergsonian premises. To do this, we will begin with Bergson’s account of the correct and misguided ways of understanding the structure and nature of Time in and of itself. Additionally, we’ll see how there is an implicit connection between Deleuze’s remarks in Difference and Repetition regarding the ‘powers of the false,’ simulacra, and the constitution of time as being ‘out of joint’ in Deleuze’s Third Synthesis, with Eshun’s description of Afrofuturism and its relationship to dramatization, the exaggeration of features of the present to contest the present, and so forth.

Thus, we begin with their shared Bergsonian premises regarding the individual, historical, and metaphysical aspects of temporality in order illustrate that the primary illusion, which we must disabuse ourselves of in order to grasp the philosophical and political import of the reality of Time, is the assumption that Kodwo Eshun’s Afrofuturism and Deleuze’s philosophy of Difference remain preoccupied with the future as such; with novelty and the accelerated proliferation of differences for their own sake.

I). Bergson – Geometrical vs. Vital Time

For Bergson the problem that we face in understanding Life, duration, etc., is imposing what he called the ‘geometric’ order onto the ‘vital’ order of Life (cf. Creative Evolution). Bergson maintains that the intelligibility of Life-itself is never grasped, as Aristotle thought, through the assumption that time is the measure of movement in space, and thus asserting that the nature and existence of Time depends on the nature and existence of Space for its own reality. If Time is not ontologically dependent on space; and if time is not reducible to the linear progression of the measure of movement; then this conception of Time-itself requires us to reconceptualize the very lexicon of temporality: the past, present, and future.

In Creative Evolution, Bergson gives his refutation of interpreting Life in terms of finality/final causes. Here, Bergson offers the means for a transvaluation of our temporal lexicon. On the ‘Finalist’ account, the future finds its reality in the past and present, follows a certain order, and is guaranteed due to first principles. Thus, for the finalists, the future remains fixed and dependent upon the linear progression of time.For Bergson (as it is for Deleuze and Eshun, as we will see), the future is precisely that which does not depend on the linear progression of time for its own reality.

From the ‘vitalist’ perspective (contra the finalists), Bergson writes, “we see…that which subsists of the direct movement in the inverted movement, a reality which is making itself in a reality which is unmaking itself…” (CE, 248). Just as the epigraph of Eshun’s notes that Afrofuturism was never concerned with the future as such but with the relation between the alternate futures the present world makes possible; and just as Deleuze notes that the science fiction aspects of a ‘good’ book mirror his reading of Nietzsche’s untimeliness as wresting from the present a future which does not repeat the violence of the past and present; Bergson could be seen here as giving this vital theorization of Time in its most ‘pure’ or theoretical way. The vital, as opposed to geometric, comprehension of the reality and structure of time supplants its linear definition (that renders the future as pre-determined and existentially dependent upon the iron laws of the past) with an understanding of the mutual conditioning of the ‘is not/no longer’ of the past and the ‘immediate past/immediate future’ of the present as the means by which multiple (and virtual) futures are prized from the reality of Time by the nature and structure of Time-as-such. 

II). Deleuze’s Third Synthesis of Time & Eshun’s Afrofuturism

Thus, when Deleuze offers his Third and final Synthesis of Time; the ‘static and ordinal’ synthesis where time exists ‘out of joint’ and thus gives a new order/meaning to how we understand time cosmologically, historically, cultural, and individually; what constitutes Time’s ‘out-of-jointness’ is precisely this revaluation of the past, present, and future understood on the finalist/linear/geometrical conception of time (as measure of movement) where what is understood is that time’s ontological existence; time as it exists independent of human agency; has no concern for the future.

For Deleuze, the temporal development of life taken in its broadest sense does not care about the preservation of species or even the preservation of its own natural processes. Time, as it is constituted by Life itself, must be understood as continuously producing various possible futures that are left up to the contingency of the other evolutionary, biological, chemical, etc., processes of Life itself. We might say that Time understood in this (vitalist) manner means that Life is the continual superabundance of an excess that Life can neither control nor wants to control (here, we should note that it is Deleuze who gets furthest from anthropomorphizing Life, the will to power, etc., and understands life in terms of the impersonal conditions of human existence as such, in contrast to the key thinkers he draws on for this synthesis-namely, Nietzsche and Bergson). It is the vitalist, according to Deleuze, who gives us access to Differences-themselves in their free and untamed state.

Thus, the Third Synthesis of Time as engendering time as out-of-joint and constitutes the ‘dissolved Self’ as one who acts against one’s time, can be seen through Eshun’s idea of science fiction’s activity as one of capitalizing on the ‘powers of falsification, the drive to rewrite reality, and the will to deny plausibility;’ against one’s time and, in the hope of a time to-come. Now, this future ‘to-come’ cannot be understood as utopian (in the pejorative sense) or an appeal to some variation of Messianic-time. Here, Eshun’s clarity is useful:

“it would be naïve to understand science fiction, located within the expanded field of the futures industry, as merely prediction into the far future, or as a utopian project for imagining alternative social realities. Science fiction might better be understood, in Samuel R. Delany’s statement, as offering “a significant distortion of the present.” To be more precise, science fiction is neither forward-looking nor utopian. Rather, in William Gibson’s phrase, science fiction is a means through which to preprogram the present. Looking back at the genre, it becomes apparent that science fiction was never concerned with the future, but rather with engineering feedback between its preferred future and its becoming present” (‘Further Considerations,’ 290).

The future as conceived by Deleuze and Eshun is incommensurable with, and the exact opposite of, either Utopian or Messianic time; these latter two conceptions of a future-to-come locate the determining temporal factor in the future while Deleuze and Eshun, following Bergson, locate the element that determines and actualizes a future as the relationship between the past and the present.

III). Possible Conclusions//Possible Futures

In What is Philosophy? Deleuze and Guattari define philosophy as the creation of concepts; an activity that requires the engendering of Thought in a subject, in order for that thinking-subject to fabricate a concept that is adequate to the Idea-Problem of their time. It is this tripartite criteria – Thinking; (posing) Problems; and (creating) Concepts – given by Deleuze (and Guattari) for the genesis and constitution of the praxis of philosophy that was already formulated in Difference and Repetition:

The famous phrase of the Contribution to the Critique of Political Economy, ‘mankind always sets itself only such tasks as it can solve’, does not mean that the problems are only apparent or that they are already solved, but, on the contrary, that the economic conditions of a problem determine or give rise to the manner in which it finds a solution within the framework of the real relations of the society. Not that the observer can draw the least optimism from this, for these ‘solutions’ may involved stupidity or cruelty, the horror of war or ‘the solution of the Jewish problem’. More precisely, the solution is always that which a society deserves or gives rise to as a consequence of the manner in which, given its real relations, it is able to pose the problems set within it and to it by the differential relations it incarnates” (DR, 186).

What is significant regarding the equation ‘philosophy = concept creation,’ and the subsequent annihilation of any guarantee that the thinking-subject will be rewarded with optimism in their search for truth, is that these three elements that constitute the practice of Philosophy do not operate according to the linear/finalist conception of temporality.

That is, the thinker cannot hope for any optimism insofar as they are thinking precisely because what is given in a thought that adequately poses problems and creates concepts are the multiple solutions, or futures, that are harbored within every problem posed and concept created. Thus, philosophy properly understood according to Deleuze stands against the linear conception of time, where the reality of the future is fixed and furnished by the internal and originary principles of the past. And among his generation (though it perhaps needs no emphasis) it is Deleuze who takes the Bergsonian injunction with the most seriousness and gravity; the assertion that we must do violence to our habituated forms of cognition (Identity, Recognition, Reflection, Analogy) in order to sinew the order of philosophical practice to an actualized overcoming of the all-too-human qualities of our present.  As Bergson writes,

The duty of philosophy should be to intervene here actively, to examine the living without any reservation as to practical utility, by freeing itself from forms and habits that are strictly intellectual. Its own special project is to speculate, that is to say, to see; its attitude toward the living should not be that of science, which aims only at action, and which, being able to act only by means of inert matter, presents itself to the rest of reality in this single respect” (CE, 196).

And it is precisely through this Bergsonian theoretico-practical operation we apprehend a Deleuzean and Eshunian transvaluation of the time proper to the human. For the former, the overcoming of humanity means freeing oneself from the bad habits of cognition that we have been socialized into taking as synonymous with Thinking as such. For the latter, the overcoming of humanity means freeing oneself from the ongoing effects of the determination and construction of a global future that continues to exclude ever growing swaths of humanity; a logic already present the past of human history. To free oneself from what we have been acculturated to identify as philosophy (thought as commensurate with the aims of either the Church, the State, or Capitalist Democracy) and from the repetition of a Future than is the exacerbation of the past; this would be sufficient to throw time out of joint and to construct a ground from which a new ordering of time becomes possible.

Thus, philosophical activity (Deleuze) and Afrofuturism (Eshun) aren’t simply against their own socio-historical situatedness, or concerned with the future for its own sake. As we saw with Bergson in terms of Life, and as we apprehend implicitly in Eshun, we are not concerned with the theorization and determination of time because time (Life, History) has a concern for itself and its future. To the contrary: it is precisely because the past and the present, taken in themselves, have neither a concern for their own future nor the future of human existence that a thought and politics of the future is not one that is infatuated and enamored with the blind and intensifying processes of our present.

The Third Synthesis of Time is the science-fiction moment in Difference and Repetition, the books ‘apocalyptic’ moment when the I and Self are both fractured and dissolved in the reordering of Time; it’s what Eshun talks about when he says that sci-fi was never really about the future in the first place. To merely be ‘about the future’… such an interpretation is only possible if we take the reality of time to be founded upon the reality of space; a perspectival-position that revokes any philosophical and/or political potential for the existence of multiple futures within a single future-time from the current present of terrestrial life defined by its terrestrially instantiated death-drive.

A Baroque Heresy: Notes on Deleuze and Leibniz on the Concept

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“The other who is nobody…the a priori Other is defined in each system by its expressive value – in other words, its implicit and enveloping value […] The I and the Self, by contrast, are immediately characterised by functions of development or explication: not only do they experience qualities in general as already developed in the extensity of their system, but they tend to explicate or develop the world expressed by the other, either in order to participate in it or deny it. – Deleuze, Difference and Repetition, 260

The Other, as outlined in What is Philosophy? is understood as a living social relation that is also the condition for the possibility of Thought and the genesis of Concepts. Unlike the Ancient Greek conceptual personae of the friend, it is the other that serves as Deleuze and Guattari’s conceptual personae; as the condition for their own creation of concepts.

What this means, however, is that the condition for the creation of concepts (the condition that makes philosophy a real possibility) is one where the knowing-subject, the ‘philosopher,’ is in an asymmetrical relationship to their conditions. The asymmetry of socio-economic power is the true grounds for philosophy defined as concept creation – and it is for this reason that D&G’s conservatism manifests when they claim that it is only with the Greek city (and neither Empire nor State) that philosophy is born; since it is the City which constitutes the norm of social relations as one that is agonistic and agonistic because to be a citizen of Athens means to be free and equal to others and thus free to lay claim to what potentially belongs to others (property, civic office, etc.). So, if the Other is the contemporary manifestation of the friend in Athenian democracy, it is precisely because the other-as-expression-of-possible-world orientates thinking and acting in the world towards the actualization or integration of a world that exists as asymmetrical, hostile, and fundamentally opposed to the present order of things. But, we may ask, why do Deleuze and Guattari pay homage to Leibniz in their discourse on the Other? As they write, “Obviously, every concept has a history. This concept of the other person goes back to Leibniz, to his possible worlds and to the monad as the expression of the world” (WIP, 17).

If the Other stands in an asymmetry with the I and the Self, with the present order of things, and so forth, then the genesis of concepts on the basis of the possible world expressed by the Other means the creation of a concept that pays homage to Leibniz’s God but also signals its death. Where Leibniz argues for God’s productivity as nothing but following from the order he bestowed upon the best of all possible worlds, as seen in the example in the epigraph that hints toward the calculus, D&G find an instance of praise and suspicion. Praise, insofar as Leibniz has succeeded in creating the concept that pertains to the mathematical means of dealing with probability, modality, and the distribution of chance. That is, Leibniz’s monadology attests to Deleuze and Guattari’s definition of the concept, since the concept of the monad demonstrates the real content of concepts themselves: “the concept’s components are neither constants nor variables but pure and simple variations ordered according to their neighborhood. They are processual, modular…The concept is in a state of survey in relation to its components, endlessly traversing them according to an order without distance…It does not have spatiotemporal coordinates, only intensive ordinates” (WIP, 21). Insofar as Leibniz gave clear expression to the concept understood as the conjunction of heterogenous elements that have an internal consistency with each other, the history of the concept belongs to Leibniz.

However, suspicion arises, since Leibniz only gave expression, or only generated the properly cybernetic concept: everything is ordered, logically related, no matter how different and distant. It is Leibniz’s God that acts as metaphysical guarantee for the best of all possible worlds; one ensured with order, stability, intelligibility, and transparency to the philosophical-subject. Leibniz’s God achieves universal order only because it acts as the cybernetic control/regulation of the social conditions under which the creation of concepts is possible. Given this hypothesis of a logical/conceptual filiation between cybernetic and Leibniz’s thought we should remind ourselves of Deleuze’s remark

“You wonder if we can understand this socially and politically. Certainly, and the baroque was itself linked to a political system, a new conception of politics. The move toward replacing the system of a window and a world outside with one of a computer screen in a closed room is something that’s taking place in our social life: we read the world more than we see it […] Leibniz…makes Harmony a basic concept. He makes philosophy the production of harmonies.” (‘On Leibniz‘, p.157-63).

It is this element of Leibniz’s thought that Deleuze seeks to expiate, since the cybernetic impulses of Leibniz, with its production of harmony and order, are commensurate with the cyberneticians task – “fight the general entropy threatening living beings, machines, and societies” (Cybernetic Hypothesis, p. 12). The metaphysical guarantee of the best of all possible worlds is simple the cybernetic task of capturing the lines of flight that define any social organization. Thus, if the history of the concept begins with Leibniz, the fate of this history is a future where the genesis of concepts vis-a-vis the Other is only possible insofar as philosophy combats the logic of the best of all possible worlds wherever it manifests.

At this point we would not be wrong to see a heresy at work; a heretical Leibniz that prefigures the harmony of cybernetic governance. Heresy, speaking etymologically, signifies the activity of choosing, of a choice made, and within its religious context, a choice made regarding the interpretation of a religious text. Thus, a heretic exists wherever an unorthodox interpretation is being presented. If there is something heretical about Deleuze it is the following claim: life is only possible on the basis of a heresy; the heresy of engendering a death of God within the thought of Leibniz in order to wrest the future of the concept from its history – in order to effectuate a becoming of the concept as opposed to a brute repetition of its history and application. This heresy takes place in the crypt, in the opaqueness and obscurity that it engenders for thought and as antithetical to the clarity, distinctness, and transparency of the cybernetic ordering of Leibniz’s God. The Baroque heresy is the retention of the concept understood as grasping nothing other than ‘pure and simple variations ordered according to their neighborhood’ (WIP, 20), while simultaneously understanding that the concept admits no metaphysical guarantee of pre-established harmony. 

The baroque heresy of Deleuze installs itself at the moment where the genesis of concepts no longer simply means the apprehension of the immanent and non-teleological ordering of the variations that characterize a given society; additionally, the baroque element of Deleuze means that what the cybernetic ordering of society obliges for thought and politics is the development, determination, and conditioning, of the problem of control by way of the concept of what is opaque, obscure, secretive, and hidden. It is also for this reason that Deleuze has bones to pick with the affirmationist Deleuzeans. Deleuze never wanted us to affirm the world of difference-itself for its own sake; only in order to grasp the image of thought and the dogma that threatens every attempt we make to create concepts. Deleuze never wanted to affirm joyous encounters for their own sake; only to combat historical and political conditions that maintain a people in conditions of sadness. Thus, any ‘Deleuzean’ politics, or ethics, or aesthetics, fails at the moment that it hypostatizes affirmation of difference, and of joyous affects, as the heart of Deleuze’s transcendental materialism.

The heresy of Deleuze, which obliges us to think and develop a concept of the obscure, opaque, and secretive, allows us to understand why societies are defined by what flees them and not by their contradictions; or why Deleuze’s work exhibits an unwavering commitment to the necessity of understanding and developing difference-itself understood as the asymmetrical relation between the present world and the possible world expressed by the Other. That is, the baroque heresy of Deleuze allows us to  understand that it is neither affirmation of difference or joy that is important for thought and politics. Rather, Deleuze forces us to comprehend that it is only escape, becoming, evading capture, and introducing a bit of disorder into the world, that thought, philosophy, and politics wrests back ideas of liberation and revolution to which the canon has laid claim. The heresy of Deleuze can be called abolition, a fugitive thought, or the buggery of Leibniz. In any event, it is clear that the Leibniz and the baroque of Deleuze demonstrates the necessity of destroying the world that is implied in any development/explication of the possible world expressed by the Other person.

It is clear by now that to combat this cybernetic-Leibnizianism that develops the world as transparent, clear, and distinctive we must engage in the heresy of the opaque, the obscure, and the secretive. From this, one additional implication exists for the legacy of humanism – since it is the discourse of humanism that is married to the political discourse of the best of all possible worlds at the beginning of the 1990’s and begins at least as early as the thought of Feuerbach:

“Feuerbach calls out to Humanity. He tears the veils from universal History, destroys myths and lies, uncovers the truth of man and restores it to him. The fullness of time has come. Humanity is pregnant of its own being. Let men at last become conscious of this, and they will be in reality what they are in truth: free, equal, and fraternal beings.”

Through the Other, with the explication of its possible world that requires the destruction of the world of the I and the Self (thus producing what Deleuze calls the ‘fractured I’ and ‘dissolved Self’), this vision of humanism gains in reality insofar as it immolates itself on its actualization. That is, Deleuze’s anti-humanism, just as its heretical Leibnizianism, raises the relationship between philosopher and Other to the level of political and social analysis. Thus, Humanism does not signal the reconciliation of humanity with itself but the continuation of the cybernetic integration of humanity with Leibnizian metaphysics. It is for this reason that the heresy of Deleuze obliges us to develop a Baroque Humanism – a humanism that develops the possible world signaled by the Other, which destroys ours, and thus effectuates the equation ‘I is an Other.’ This formula, which belongs to Rimbaud, is what orthodox humanism claims while it never achieves and is the formulation that Deleuze’s heresy makes a living reality for thought itself. “For it is not the other which is another I, but the I which is an other, a fractured I” (DR, 261).