Beruflich Dokumente
Kultur Dokumente
Goldsmiths,
University of London
All the articles presented in this issue have their origin in the conference
Deleuze, Philosophy, Transdisciplinarity, which took place in London
in February 2012 and which the present editors organised. The key
question that the conference sought to address and around which the
present issue revolves is the following: How are we to understand
philosophys relation to the various thought processes and practices of
other disciplines in the work of Gilles Deleuze? The necessity of asking
this question is to be found in a difficulty we perceive to exist in the
tendency for an interdisciplinary mode of knowledge production. As the
desire to bring together a multitude of different research fields grows,
particularly in the humanities, it has also become harder to compare and
conjoin them without a certain perplexity arising as to how the different
protocols and traditions of thought are to intersect.
Our turn to Deleuze is precisely motivated by his distinctive take
on the problem, which we will here articulate as transdisciplinarity.1
We take our cue from the blurb of the French edition of What Is
Philosophy?, which reads: Philosophy is not interdisciplinary.2 This
might be taken to harbour a tension. After all, it is known that
Deleuze had long insisted on the essential relation between philosophy
and other disciplines. His work has been explicitly and on numerous
occasions praised for having advocated the necessity of breaking through
traditional disciplinary boundaries and can be rightly described as one
of the boldest instances of Continental philosophy. As Isabelle Stengers
notes, Deleuzes thought has been associated with the affirmation
Deleuze Studies 7.2 (2013): 157168
DOI: 10.3366/dls.2013.0100
Edinburgh University Press
www.euppublishing.com/dls
Editorial Introduction
159
art can make an affect and percept. The point is repeated in the American
preface to Difference and Repetition written in 1994, only three years
after the publication of What Is Philosophy?:
A philosophical concept can never be confused with a scientific function
or an artistic construction, but finds itself in affinity with these in this or
that domain of science or style of art. The scientific or artistic content of a
philosophy may be very elementary, since it is not obliged to advance art
or science, but it can advance itself only by forming properly philosophical
concepts from a given function or construction. (Deleuze [1968] 1994: xvi)
Editorial Introduction
161
the game of truth, one undergoes changes, and not just as the simplistic
appropriation of others for the purpose of communication is the living
substance of philosophy, at least if we assume that philosophy is still what
it was in times past, i.e. an ascesis, askesis, an exercise of oneself in the
activity of thought. (Foucault [1984] 1985: 89)
For many people, philosophy is something which is not made, but is preexistent, ready-made in a prefabricated sky. However, philosophical theory
is itself a practice, just as much as its object. It is no more abstract than its
object. It is a practice of concepts, and it must be judged in the light of the
other practices with which it interferes. (Deleuze [1985] 1989: 280)
Editorial Introduction
163
Editorial Introduction
165
Notes
1. We borrow the term transdisciplinarity from the research programme currently
underway in the Centre for Research in Modern European Philosophy at
Kingston University, London, and which ric Alliez has recently articulated from
a Deleuzian and Guattarian angle in such texts as Rhizome (With no return)
(2011), further developed in his contribution to this issue.
2. La philosophie nest ni contemplation, ni rflexion ni communication. Elle est
lactivit qui cre les concepts. Comment se distingue-t-elle de ses rivales, qui
prtendent nous fournir en concepts (comme le marketing aujourdhui)? La
philosophie doit nous dire quelle est la nature crative du concept, et quels
en sont les concomitants: la pure immanence, le plan dimmanence, et les
personnages conceptuels.
Par l, la philosophie se distingue de la science et de la logique. Cellesci noprent pas par concepts, mais par fonctions, sur un plan de rfrence
et avec des observateurs partiels. Lart opre par percepts et affects, sur un
plan de composition avec des figures esthtiques. La philosophie nest pas
interdisciplinaire, elle est elle-mme une discipline entire qui entre en rsonance
Editorial Introduction
167
avec la science et avec lart, comme ceux-ci avec elle; trouver le concept dune
fonction, etc.
Cest que les trois plans sont les trois manires dont le cerveau recoupe le
chaos, et laffronte. Ce sont les chaodes. La pense ne se constitue que dans ce
rapport o elle risque toujours de sombrer (Deleuze and Guattari [1991] 1994:
back cover).
We owe special thanks to Marjorie Gracieuse for drawing our attention
to this passage in her paper Immanence as Differential Material of Human
Practices: on the distinction between Transdisciplinarity and Interdisciplinarity,
presented at the conference.
3. This is the creative act itself, which, as Deleuze puts it in his lecture from 1987,
involves the construction of different modes of ideation:
No one has an idea in general. An idea like the one who has the idea is
already dedicated to a particular field. Sometimes it is an idea in painting, or an
idea in an novel, or an idea in philosophy or an idea in science [. . . ] Ideas have to
be treated like potentials already engaged in one mode of expression or another
(Deleuze [2001] 2007: 317; original emphasis).
How can we visualise such a practice of thought? We may borrow here
Jean-Claude Dumoncels image: disciplines are paths of thought that travel in
caravans, and Ideas are the caravanserais where disciplines can enter from
the various gateways and intersect independently of their specific technicalities
(Dumoncel 2009: 83; our translation):
Les Ides, au sens deleuzien, sont donc des caravansrails de la pratique et de
la pense o peuvent se croiser les disciplines les plus diverses, indpendamment
de leurs technicits spcifiques.
References
Alliez, ric (2011) Rhizome (With no return), Radical Philosophy, 167 (May/Jun),
pp. 3642.
Badiou, Alain [1997] (2000) Deleuze: The Clamour of Being, trans. Louise Burchill,
Minneapolis: University of Minnesota Press.
Deleuze, Gilles [1983] (1986) Cinema 1: The Movement-Image, trans. Hugh
Tomlinson and Barbara Habberjam, London: Athlone Press.
Deleuze, Gilles [1985] (1989) Cinema 2: The Time-Image, trans. Hugh Tomlinson
and Robert Galeta, London: Athlone Press.
Deleuze, Gilles [1968] (1994) Difference and Repetition, trans. Paul Patton, London:
Athlone Press.
Deleuze, Gilles [1990] (1995) Negotiations 19721990, trans. Martin Joughin,
New York: Columbia University Press.
Deleuze, Gilles [1995] (2001) Pure Immanence. Essays on A Life, trans. Anne
Boyman, New York: Zone Books.
Deleuze, G. (2004) Desert Islands and Other Texts: 19531974, ed. D. Lapoujade,
trans. M.Taormina, Los Angeles and New York: Semiotext(e).
Deleuze, Gilles [2001] (2007) Two Regimes of Madness, ed. David Lapoujade, trans.
Ames Hodges and Mike Taormina, New York: Semiotext(e).
Deleuze, Gilles and Flix Guattari [1980] (1987) A Thousand Plateaus: Capitalism
and Schizophrenia, trans. Brian Massumi, Minneapolis: University of Minnesota
Press.
Deleuze, Gilles and Flix Guattari [1991] (1994) What is Philosophy?, trans. Hugh
Tomlinson and Graham Burchill, London: Verso.