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A renewal of immanent metaphysics through diagrammatic methods and the tools of category theorySpinoza, Peirce and Deleuze are, in different ways, philosophers of immanence. Rocco Gangle addresses the methodological questions raised by a commitment to immanence in terms of how diagrams may be used both as tools and as objects of philosophical investigation. He integrates insights from Spinozist metaphysics, Peircean semiotics and Deleuzes philosophy of difference in conjunction with the formal operations of category theory. Category theory reveals deep structural connections among logic, topology and a variety of different areas of mathematics, and it provides constructive and rigorous concepts for investigating how diagrams work. Gangle introduces the methods of category theory from a philosophical and diagrammatic perspective, allowing philosophers with little or no mathematical training to come to grips with this important field. This coordination of immanent metaphysics, diagrammatic method and category theoretical mathematics opens a new horizon for contemporary thought.
Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Deleuze's philosophy for theatre and performance. Drawing from Goat Island, Butoh, Artaud and Kaprow, as well from Deleuze, Bergson and Laruelle, the book conceives performance as a way of thinking immanence.
Torgerson begins by discussing God's transcendence and immanence and showing how church architecture has traditionally interpreted these key concepts. He then traces the theological roots of immanence's priority from liberal theology and liturgical innovation to modern architecture. Next, Torgerson illustrates this new architecture of immanence through particular practitioners, focusing especially on the work of theologically savvy architect Edward Anders Sövik. Finally, he addresses the future of church architecture as congregations are buffeted by the twin forces of liturgical change and postmodernism.
Performing Immanence: Forced Entertainment is a unique probe into the multi-faceted nature of the works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Félix Guattari. Jan Suk explores the transformation-potentiality of the territory between the actors and the spectators, namely via Forced Entertainment’s structural patterns, sympathy provoking aesthetics, audience integration and accentuated emphasis of the now. Besides writings of Tim Etchells, the company’s director, the foci of the analyses are devised as well as durational projects of Forced Entertainment. The examination includes a wider spectrum of state-of the-art live artists, e.g. Tehching Hsieh, Franko B or Goat Island, discussed within the contemporary performance discourse. Performing Immanence: Forced Entertainment investigates how the immanent reading of Forced Entertainment’s performances brings the potentiality of creative transformative experience via the thought of Gilles Deleuze. The interconnections of Deleuze’s thought and the contemporary devised performance theatre results in the symbiotic relationship that proves that such readings are not mere academic exercises, but truly life-illuminating realizations.
Essays by Gilles Deleuze on the search for a new empiricism. The essays in this book present a complex theme at the heart of the philosophy of Gilles Deleuze, what in his last writing he called simply "a life." They capture a problem that runs throughout his work--his long search for a new and superior empiricism. Announced in his first book, on David Hume, then taking off with his early studies of Nietzsche and Bergson, the problem of an "empiricist conversion" became central to Deleuze's work, in particular to his aesthetics and his conception of the art of cinema. In the new regime of communication and information-machines with which he thought we are confronted today, he came to believe that such a conversion, such an empiricism, such a new art and will-to-art, was what we need most. The last, seemingly minor question of "a life" is thus inseparable from Deleuze's striking image of philosophy not as a wisdom we already possess, but as a pure immanence of what is yet to come. Perhaps the full exploitation of that image, from one of the most original trajectories in contemporary philosophy, is also yet to come.
More than a decade after the Fukushima Daiichi nuclear disaster, what we are witnessing is not a Second Nuclear Age – there is no post-atomic – but an uncanny, quiet return of the nuclear threat that so vividly animated the Cold War era. The renewed threat of nuclear proliferation, public complacency regarding weapons stockpiles, and the lack of a single functioning long-term repository after seventy years and thousands of tonnes of nuclear waste reveals the industry’s capacity for self-reinvention abetted by an ever-present capacity to forget. More than “fabulously textual,” as Jacques Derrida described it, the protean, unbound, and unending materiality of the nuclear is here to stay: resistance is crucial. Toxic Immanence introduces contemporary interdisciplinary perspectives that resist and decolonize the nuclear. Contributors highlight the prevalence and irrationality of slow violence and colonial governance as elements of the contemporary nuclear age. They propose a reappraisal of Cold War-era anti-nuclear art as well as pop culture representations of nuclear disaster, while decolonizing pedagogies advance the role of education in communicating and understanding the lethality of nuclear complexes. Collectively, the essays develop a robust critical discourse across fields of nuclear knowledge and integrate the work of the nuclear humanities with environmental justice and Indigenous rights activism. This reach across ways of knowing extends artistically: the poetry and photography included in this volume offer visions of past and present nuclear legacies. Conceived as a critical reflection on the potential of nuclear humanities, Toxic Immanence offers intellectual strategies for resisting and abolishing the global nuclear regime.
One of the terminological constants in the philosophical work of Gilles Deleuze is the word 'immanence', and it has therefore become a foothold for those wishing to understand exactly what 'Deleuzian philosophy' is. Deleuze's philosophy of immanence is held to be fundamentally characterised by its opposition to all philosophies of 'transcendence'. On that basis, it is widely believed that Deleuze's project is premised on a return to a materialist metaphysics. Christian Kerslake argues that such an interpretation is fundamentally misconceived, and has led to misunderstandings of Deleuze's philosophy, which is rather one of the latest heirs to the post-Kantian tradition of thought about immanence. This will be the first book to assess Deleuze's relationship to Kantian epistemology and post-Kantian philosophy, and will attempt to make Deleuze's philosophy intelligible to students working within that tradition. But it also attempts to reconstruct our image of the post-Kantian tradition, isolating a lineage that takes shape in the work of Schelling and Wronski, and which is developed in the twentieth century by Bergson, Warrain and Deleuze.
Immersion is the new orthodoxy. Within the production, curation and critique of sound art, as well as within the broader fields of sound studies and auditory culture, the immersive is routinely celebrated as an experiential quality of sound, the value of which is inherent yet strengthened through dubious metaphysical oppositions to the visual. Yet even within the visual arts an acoustic condition grounded in Marshall McLuhan's metaphorical notion of acoustic space underwrites predispositions towards immersion. This broad conception of an acoustic condition in contemporary art identifies the envelopment of audiences and spectators who no longer perceive from a distance but immanently experience immersive artworks and environments. Immanence and Immersion takes a critical approach to the figures of immersion and interiority describing an acoustic condition in contemporary art. It is argued that a price paid for this predisposition towards immersion is often the conceptual potency and efficacy of the work undertaken, resulting in arguments that compound the marginalisation and disempowerment of practices and discourses concerned with the sonic. The variously phenomenological, correlational and mystical positions that support the predominance of the immersive are subject to critique before suggesting that a stronger distinction between the often confused concepts of immersion and the immanence might serve as a means of breaking with the figure of immersion and the circle of interiority towards attaining greater conceptual potency and epistemological efficacy within the sonic arts.
Christian Gilliam argues that a philosophy of 'pure' immanence is integral to the development of an alternative understanding of 'the political'; one that re-orients our understanding of the self toward the concept of an unconscious or 'micropolitical' life of desire. He argues that here, in this 'life', is where the power relations integral to the continuation of post-industrial capitalism are most present and most at stake. Through proving its philosophical context, lineage and political import, Gilliam ultimately comes to outline and justify the conceptual importance and necessity of immanence in understanding politics and resistance, thereby challenging the claim that ontologies of 'pure' immanence are either apolitical and/or politically incoherent.