By John Protevi
This paintings crosses the paintings of 2 of the main influential thinkers at the beginning of the twenty first Century, Jacques Derrida and Gilles Deleuze. The publication takes the reader on a transversal trip - making use of Derridean research of the background of philosophy, Deleuzian artistic discussion and complexity conception - to move the bounds of philosophy and technology. Derrida's predicament with metaphysics is built along Deleuze's critique of 'hylomorphism' - the doctrine that construction is the imposition of order on chaos. The research makes an attempt to opens a brand new destiny for philosophy by means of revealing the best way complexity idea indicates the order and creativity inherent in subject itself.
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This paintings crosses the paintings of 2 of the main influential thinkers firstly of the twenty first Century, Jacques Derrida and Gilles Deleuze. The booklet takes the reader on a transversal trip - using Derridean research of the heritage of philosophy, Deleuzian inventive discussion and complexity thought - to pass the bounds of philosophy and technology.
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Extra resources for Political Physics: Deleuze, Derrida, and the Body Politic (Transversals)
Beginning the close analysis, Derrida remarks that two-thirds of Ideas I passes as if sense were silent (Derrida, 'Form and meaning', 1982, 189/158). Husserl is able to do this because he believes he has shown in Logical Investigations that expression is reducible (as we recall this is Derrida's focus in Speech and Phenomena). In Ideas I, expression is thought as a 'stratum,' that is, as both founded and delimitable. 'Stratum', Derrida notes, is a metaphor used blithely at first by Husserl, but then brought under suspicion at the end of the section (Derrida, 'Form and meaning', 1982, 190/159).
We will thematize the hylomorphic production models Derrida allows us to see but does not dwell upon. First, the writing metaphor. In developing this theme, Derrida shows that Husserl can establish the 32 FORCING OPEN C O N S C I O U S N E S S independence of sense from expression using a converse argument centred on a perceptual example. Since the Logical Investigations have shown the independence of expression as meaning-intention from perception as meaning-fulfilling intuition, this entails that perceptual sense must also be independent of its expression.
Derrida begins Chapter 2 of Speech and Phenomena, 'The reduction of indication', by suggesting the vast scope of the problem facing Husserl in his desire to separate indicative and expressive sign- 22 FORCING OPEN CONSCIOUSNESS functions. The reduction of indication is necessary, yet infinite; indication would be threatening to the entire project of phenomenology if it were to be irreducible (Derrida, Speech and Phenomena, 1973, 28/27). After a consideration of Husserl's examples, both natural and artificial, of indicative signs, Derrida moves to consider the unity of the indicative function, which Husserl describes as the 'motivation' of the passage of thought, the linking of actual knowledge with nonactual (30/29).