Showing posts with label Shores. Corry Shores. Show all posts
Showing posts with label Shores. Corry Shores. Show all posts

2 May 2023

Shores. Jc Beall’s Current and Potential Impact on the Continental Philosophy of Non-Classical Logics (Author Manuscript)

by Corry Shores

 

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In accordance with the archiving and open access policies of Springer Nature, I am making a PDF of the Author Manuscript (AM) available here on my personal website.

This version of the article has been accepted for publication, after peer review (when applicable) and is subject to Springer Nature’s AM terms of use, but is not the Version of Record and does not reflect post-acceptance improvements, or any corrections. The Version of Record is available online at:

http://dx.doi.org/10.1007/s44204-023-00071-5

To access the final published version, please reach the publisher using that link or contact the author at corryshores@gmail.com or through Research Gate.

 

 

Corry Shores


Jc Beall’s Current and Potential Impact on the Continental Philosophy of Non-Classical Logics

 

PDF LINK

 


 

 

 

Shores, Corry. “Jc Beall’s Current and Potential Impact on the Continental Philosophy of Non-Classical Logics.” Asian Journal of Philosophy 2, no. 1 (2023): 1–12. doi:10.1007/s44204-023-00071-5.

https://link.springer.com/article/10.1007/s44204-023-00071-5

http://dx.doi.org/10.1007/s44204-023-00071-5

 

Research Gate link:

https://www.researchgate.net/publication/370444805_Jc_Beall%27s_current_and_potential_impact_on_the_continental_philosophy_of_non-classical_logics_in_the_Asian_Journal_of_Philosophy

30 Jun 2022

Shores. The Primacy of Falsity: Deviant Origins in Deleuze

by Corry Shores

 

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In accordance with the distribution provisions of Tijdschrift voor Filosofie: Louvain Journal of Philosophy, I am making a PDF of the published article available on my personal website.

 

 

Corry Shores


The Primacy of Falsity:

Deviant Origins in Deleuze

PDF LINK

 

 

 

 

Shores, Corry. “The Primacy of Falsity: Deviant Origins in Deleuze.” Tijdschrift Voor Filosofie 81 (2019): 81–130.

26 Oct 2020

Shores. Logic of Gilles Deleuze: Basic Principles. Announcement and Preview

 

by Corry Shores

 

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Announcement and Preview of

 

Corry Shores

 

The Logic of Gilles Deleuze:

Basic Principles

[Publisher’s book-webpage]

 

 
 
 
 

My book on Deleuze’s logic is now in press. A preview of the table of contents, acknowledgments, and introduction is available here:

https://www.academia.edu/44372079/The_Logic_of_Gilles_Deleuze_Basic_Principles

 

The publisher offers a preview of the first chapter here:

https://bloomsburycp3.codemantra.com/viewer/5f4e5a6fdc0e82000176fab1

 

 

Here is the publisher’s webpage for the book:

https://www.bloomsbury.com/us/the-logic-of-gilles-deleuze-9781350062252/

 

And here is an Amazon.com link:

The Logic of Gilles Deleuze: Basic Principles (Bloomsbury Studies in Continental Philosophy)

 

 

 

I thank a number of people in the acknowledgements (also see below). But here on this blog post I want to especially thank readers of this blog who have helped me on the book and supported me throughout the process, including Clifford Duffy, Terrance Blake, and Scott Wollschleger.

 

 

 

Full Acknowledgements:

This book was first made possible by Roland Breeur, who recommended me to the person who became one of my main editors, Liza Thompson. Much of what I know about philosophy and how it should be conducted, I learned from Prof. Breeur. And Liza, along with my other editors, Frankie Mace and Lucy Russell, have extended to me an incredible amount of generosity with the scheduling for the book. It never would have made it without their help, so I thank you all very much.

The basic content of the book was first made possible by the participants and organizers of the 2014 Paraconsistent Reasoning in Science and Mathematics conference at Ludwig Maximilian University: Peter Verdée, Holger Andreas, David Ripley, Graham Priest, Diderik Batens, Fenner Tanswell, Marcos Silva, Bryson Brown, Hitoshi Omori, Heinrich Wansing, Andreas Kapsner, Cian Chartier, Franz Berto, Itala Maria Loffredo D’Ottaviano, Zach Weber, João Marcos, Luis Estrada-González, Nick Thomas, Maarten McKubre-Jordens, Maria Martinez, Diego Tajer, and Otávio Bueno. They graciously allowed me to present, despite being quite incapable with logic, and they afterward did much to help me begin my project. Peter Verdée and Holger Andreas edited an edition of the proceedings for Springer, and they were kind enough to include my paper in it, the text of which is partly used here. I thank everyone for getting me started in non-classical logics, which still I love to this day.

I could not have written this book without the enduring, loving support of my wife, Gülben Salman. Her sacrifices and efforts are the reason I was able to do all the work necessary here. As a philosopher herself, she also made substantial contributions throughout the whole compositional process, and I cannot thank her enough. Gülben, I dedicate this book to you. I also thank Yasin Ceylan, Aziz Fevzi Zambak, Deniz Yılmaz Zambak, Aret Karademir, Hikmet Ünlü, Bolkar Özkan, Scott Wollschleger, Kurt Ozment, Samet Bağçe, Karen Vanhercke, Vykintas Baltakas, along with my family, Patricia, Ebbie Victor, Fatma, Hasan, Ebbie Paul, Brandon, Aimee, Mandy, Austin, and Joseph for the companionship, support, and advice they gave me all throughout.

Certain parts specifically benefited from help I received from other scholars. Oğuz Akçelik reviewed the logic parts (and any mistakes are mine). Many of the cinema parts (Chapters 4, 7, 8) were made possible by the guidance and teaching of Ahmet Gürata. The section on Plato in Chapter 8 was improved with Hikmet Ünlü’s expert assistance, and his instruction in Ancient Greek proved indispensable for working through the Stoic material in Chapter 5. Dorothea Olkowski taught me about intuitionism and its importance in Deleuze’s philosophy, so all of Chapter 6 was made possible by her writings and comments, and also she reviewed and made suggestions on most of Chapter 5. Roland Breeur’s work on imposture influenced much of what I write on the Falsifier in Chapter 8, and he reviewed and made suggestions for both Chapters 7 and 8. Along the way, I also received help with interpretation, sourcing, and translation from Antoine Dolcerocca, Terence Blake, Clifford Duffy, Roger Vergauwen, Julie Van der Wielen, Griet Galle, Iain McKenzie, Guillaume Collet, and Steven Spileers. Meriç Aytekin contributed much to the sourcing in Chapter 2, and Çi̇si̇l Vardar, to Chapter 1. At the beginning stages, my project benefitted from the comments provided by anonymous referees and from Ronald Bogue. I am very grateful to them. And I have taken great inspiration from the work of Jeffrey Bell, who has pioneered this particular field of study and whose advice I deeply appreciate. I am also heavily indebted to the archivists, transcribers, and translators (listed in the bibliography, but let me here mention Richard Pinhas) who have made Deleuze’s courses accessible. I thank everyone mentioned here so very much.

And many of the logic parts were improved through my correspondences and conversations with Graham Priest. His philosophy is the original inspiration for this book, and he has been nothing but the most generous and supportive toward this project. I thank him for patiently and thoroughly answering all of my questions about his writings and ideas. The philosophical world is so much better because of him, and I will always be deeply grateful.

I also could not have completed this book without the support and understanding of my colleagues at the Middle East Technical University: Halil Turan, Barış Parkan, Murat Baç, David Grünberg, Ayhan Sol, Samet Bağçe, Elif Çırakman, Mehmet Hilmi Demir, Aziz Fevzi Zambak, Fulden İbrahimhakkıoğlu, Yasin Ceylan, Teo Grünberg, Ahmet İnam, Ertuğrul Rufayi Turan, Refik Güremen, James Griffith, Selma Aydın Bayram, Dilek Başar Başkaya, Ercan Erkul, Gülizar Karahan Balya, Hikmet Ünlü, Erdinç Sayan, and Tahir Kocayiğit. (Ayhan Sol helped me especially with freeing up my scheduling for more time to write.)

Many students in my classes and seminars have contributed ideas and insights to this book, including: Bolkar Özkan, Gürkan Kılınç, Ilgın Aksoy, Yıldırım Bayazit, Faik Tekin Asal, Ekin Demirors, Hazal Babur, Tanayça Ünlütürk, Aybüke Aşkar, Meli̇ke Başak Yalçın, Ulaş Murat Altay, Sedef Beşkardeşler, Toprak Seda Karaosmanoğlu, İlkyaz Taşdemir, Çınar Uysal, Handan Ağirman, Tunahan Akbulut, Yasemin Karabaş, Aybüke Aşkar, Mahsasadat Shojaei, Umut Kesi̇kkulak, Ayşe Pekdiker, Seyran Sam Kookiaei, Atakan Botasun, Esra Saçlı, Firuza Rahimova, Sona Mustafayeva, İrem Kayra Özdemir, Erkan Özmacun, Ezel Ortaç, Rada Nur Ergen, and Yiğit Baysal. I thank all of you for your interest in these topics, for your original philosophical thinking, and for helping me interpret the texts.

And finally, I thank the following publishers and journals who granted me permission to reprint texts and figures (and additionally, I thank their blind referees, who helped me improve the articles):

Tijdschrift voor Filosofie / Peeters Publishers. (“The Primacy of Falsity: Deviant Origins in Deleuze.” TijdschriftVoorFilosofie 81 (2019): 81–130).

Routledge. (“Affirmations of the False and Bifurcations of the True: Deleuze’s Dialetheic and Stoic Fatalism.” In Deleuze and Guattari’s Philosophy of Freedom: Freedom’s Refrains, edited by Dorothea Olkowski and EftichisPirovolakis, 178–223. New York: Routledge, 2019.)

Springer. (“Dialetheism in the Structure of Phenomenal Time.” In Logical Studies of Paraconsistent Reasoning in Science and Mathematics, edited by Holger Andreas and Peter Verdée, 145-157. Cham, Switzerland: Springer, 2016.)

Deleuze and Guattari Studies / Edinburgh University Press. (“In the Still of the Moment: Deleuze’s Phenomena of Motionless Time.” Deleuze Studies 8, no. 2 (2014): 199–229.)

 

 

Shores, Corry. The Logic of Gilles Deleuze: Basic Principles. London: Bloomsbury, 2020.

[Publisher’s book-webpage]

 

 

 

 

.

Shores. Logic of Gilles Deleuze, 1: Basic Principles, entry directory

 

by Corry Shores

 

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Entry Directory for

 

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The Logic of Gilles Deleuze:

Basic Principles

[Publisher’s book-webpage]

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

Shores, Corry. The Logic of Gilles Deleuze: Basic Principles. London: Bloomsbury, 2020.

[Publisher’s book-webpage]

 

.

19 Aug 2020

Breeur (1.2) Lies – Imposture – Stupidity, Ch.1.2, “Contingency, Freedom, and Imagination”, summary

 

by Corry Shores

 

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[The following is a paragraph by paragraph summary of Breeur’s text. Boldface, underlining, and bracketed commentary are my own. Proofreading is incomplete, so please forgive my mistakes. The book can be purchased here.]

 

 

 

 

Summary of

 

Roland Breeur

[Breeur’s academia.edu page and researchgate page]

 

Lies – Imposture – Stupidity

 

Part 1

Lies and Stupidity

 

Ch.1

 

1.2

“Contingency, Freedom, and Imagination”

 

 

 

 

 

 

Brief summary (collecting those below):

(1.2.1) On the one hand, facts strike us as highly contingent: we often think things could have happened differently (“A small, contingent little detail could have put the entire outcome of history on a different track.”) On the other hand, facts, once occurring, cannot be made otherwise and in that sense are highly necessary. Furthermore, facts are always understood from a particular perspective and distance, which is the freedom, according to Arendt, “‘to say “yes” or “no” [... ] to things as they are given, beyond agreement or disagreement’.” (1.2.2) Insofar as we regard a fact as contingent (that it could have been otherwise), we might feel remorse (about that bad event would could have prevented). We might for instance think, “If only I had not done such and such.” And, insofar as we regard the event as necessary (that it is something that is engraved in the past and cannot be altered) we might feel gratitude about it, perhaps thinking something like, “What great luck I had there!” Both of these feelings are entangled just as the fact’s contingency and necessity are. (This complex composition of facts along with our thoughts and feelings about them provides a basic structure for our actions and the freedom we have with regard to them. In order to act freely, there needs to be options, otherthans, alternatives, etc. that we may choose among. Thus we need to think that facts as they were and are alterable (are contingent) and we are responsible for how they are altered. And we also need to regard that there are given conditions (necessary in that sense) against which our actions can introduce divergence:) “On the basis of what happens to you and ‘could have been otherwise’ you cherish the desire to do something else – and that desire itself is fed by the insight that what happened cannot be undone” (14). As Arendt notes, our action cannot act in a contextual vacuum; rather, she writes, “In order to make room for one’s own action, something that was there before must be removed or destroyed, and things as they were before are changed.” But, in order to nullify or bypass the necessarily given circumstances, we must imagine this otherwise. Now, such a denial of reality and assertion that it be otherwise is in a sense both an act of the imagination and an act of lying. She writes: “the ability to lie, the deliberate denial of factual truth, and the capacity to change facts, the ability to act, are interconnected; they owe their existence to the same source, imagination.” This involves, on the one hand, nullifying, making nothing of the factually given, and, on the other hand, affirming an alternate nothing. As Breeur explains: “Acting means ignoring something in reality or neutralizing its impact in favor of what does not yet exist and what I would like to change, adapt, replace” (15). (1.2.3) (Given that facts involve our interpretations and efforts to alter them), facts are never simply given to our passive reception but rather “appear within a context as an event, a moment, an object, on the basis of which a set of possibilities is generated” (15). This is similar to Deleuze’s notion of voyance, a sort of clairvoyant seeing of how present circumstances can be suddenly steered down unexpected paths of alternate development. Since every fact involves both the given and the alternate, “A fact or event is therefore a kind of snapshot, a central point in which a minimal distinction is condensed between the real and the possible” (15). The imaginary is what reshapes the real, and thus “A fact therefore never appears objectively and naked, but, like everything that appears, is (to use Sartre’s expression) ‘pregnant with the imaginary’” (15-16). And those with greater powers of the imagination and clairvoyance are more able to alter the progress of events and unfolding of facts.

 

 

 

 

 

Contents

 

1.2.1

[The Dual Contingency and Necessity of Facts and Our Freedom to Affirm Them in Accordance with a Perspectival View upon Them]

 

1.2.2

[The Dual Attitude Toward Action and Freedom Built Upon Facts’ Contingency/Necessity Ambivalence: Lying by Means of Imagination to Introduce Alternance into Actuality]

 

1.2.3

[Bending the Real with Voyance, Thereby Impregnating It with Imagination]

 

Bibliography

 

 

 

 

 

 

 

Summary

 

1.2.1

[The Dual Contingency and Necessity of Facts and Our Freedom to Affirm Them in Accordance with a Perspectival View upon Them]

 

[On the one hand, facts strike us as highly contingent: we often think things could have happened differently (“A small, contingent little detail could have put the entire outcome of history on a different track.”) On the other hand, facts, once occurring, cannot be made otherwise and in that sense are highly necessary. Furthermore, facts are always understood from a particular perspective and distance, which is the freedom, according to Arendt, “‘to say “yes” or “no” [... ] to things as they are given, beyond agreement or disagreement’.”]

 

[ditto]

Facts in history manifest a remarkable ambivalence between pure contingency and necessity. At the occasion of some event, you cannot get rid of the impression that things could have been otherwise, that things could have gone differently. A small, contingent little detail could have put the entire outcome of history on a different track. On the other hand, what’s done is done. This small detail is overloaded with meaning precisely because it did not derail the fatal consequences of history. Something happens without reason – and what | happened becomes indelible or irreversible. Hence, facts occur to us in a certain place at a certain time. A fact is not just a mechanical or natural “thing.” After all, you do not simply accept or submit yourself to facts passively; rather, you consider facts from a very specific angle and a kind of distance. That distance is freedom – the  freedom, according to Hannah Arendt, “to say ‘yes’ or ‘no’ [... ] to things as they are given, beyond agreement or disagreement.”5

(13-14)

5. Hannah Arendt, “Lying in Politics,” in: Crises of the Republic (San Diego: Harvest, 1972), p.5.

(14)

[contents]

 

 

 

 

 

 

1.2.2

[The Dual Attitude Toward Action and Freedom Built Upon Facts’ Contingency/Necessity Ambivalence: Lying by Means of Imagination to Introduce Alternance into Actuality]

 

[Insofar as we regard a fact as contingent (that it could have been otherwise), we might feel remorse (about that bad event would could have prevented). We might for instance think, “If only I had not done such and such.” And, insofar as we regard the event as necessary (that it is something that is engraved in the past and cannot be altered) we might feel gratitude about it, perhaps thinking something like, “What great luck I had there!” Both of these feelings are entangled just as the fact’s contingency and necessity are. (This complex composition of facts along with our thoughts and feelings about them provides a basic structure for our actions and the freedom we have with regard to them. In order to act freely, there needs to be options, otherthans, alternatives, etc. that we may choose among. Thus we need to think that facts as they were and are alterable (are contingent) and we are responsible for how they are altered. And we also need to regard that there are given conditions (necessary in that sense) against which our actions can introduce divergence:) “On the basis of what happens to you and ‘could have been otherwise’ you cherish the desire to do something else – and that desire itself is fed by the insight that what happened cannot be undone” (14). As Arendt notes, our action cannot act in a contextual vacuum; rather, she writes, “In order to make room for one’s own action, something that was there before must be removed or destroyed, and things as they were before are changed.” But, in order to nullify or bypass the necessarily given circumstances, we must imagine this otherwise. Now, such a denial of reality and assertion that it be otherwise is in a sense both an act of the imagination and an act of lying. She writes: “the ability to lie, the deliberate denial of factual truth, and the capacity to change facts, the ability to act, are interconnected; they owe their existence to the same source, imagination.” This involves, on the one hand, nullifying, making nothing of the factually given, and, on the other hand, affirming an alternate nothing. As Breeur explains: “Acting means ignoring something in reality or neutralizing its impact in favor of what does not yet exist and what I would like to change, adapt, replace” (15).]

 

[ditto]

This combination of coincidence and necessity can therefore be a source of remorse (“If only I hadn’t...”) or gratitude (“What luck happens to me!”). A fact therefore affects someone within a certain context that is marked by the structure of the action: it does something to you or you do something with it. On the basis of what happens to you and “could have been otherwise” you cherish the desire to do something else – and that desire itself is fed by the insight that what happened cannot be undone. In her text on “lying in politics,” Arendt aptly expresses the affinity between freedom and action as follows:

A characteristic of human action is that it always begins something new, but this does not mean that it is ever permitted to start ab ovo, to create ex nihilo. In order to make room for one’s own action, something that was there before must be removed or destroyed, and things as they were before are changed. Such change would be impossible if we could not mentally remove ourselves from where we are physically located and imagine that things might as well be different from what they actually are. In other words, the ability to lie, the deliberate denial of factual truth, and the capacity to change facts, the ability to act, are interconnected; they owe their existence to the same source, imagination.6

| The ability to take distance and imagine that things could be different from what they are today, these are also the two structural properties of the dynamics of the imagination as such. It is not for nothing that Sartre defined the imaginary as a consciousness in so far as it realizes its freedom.7 The imaginary cannot reductively be “psychologized” into the mental function of forming images; it represents a global attitude towards reality. The power of the imaginary lies in the quasi-magical ability that we have to deny facts – “to say ‘no’” – in favor of a fictional narrative. The imaginary thus affirms itself as a refusal to accept what is happening or as a distance from reality in favor of the possible or the unreal. It is this internal structure of a “double néantisation’’ that, as Arendt suggested, is characteristic of freedom and action. Acting means ignoring something in reality or neutralizing its impact in favor of what does not yet exist and what I would like to change, adapt, replace.

(14-15)

6. “Lying in Politics,” p. 5.

(14)

7. Jean-Paul Sartre, L’imaginaire (Paris: Gallimard, 1986), p. 358.

(15)

[contents]

 

 

 

 

 

 

1.2.3

[Bending the Real with Voyance, Thereby Impregnating It with Imagination]

 

[(Given that facts involve our interpretations and efforts to alter them), facts are never simply given to our passive reception but rather “appear within a context as an event, a moment, an object, on the basis of which a set of possibilities is generated” (15). This is similar to Deleuze’s notion of voyance, a sort of clairvoyant seeing of how present circumstances can be suddenly steered down unexpected paths of alternate development. Since every fact involves both the given and the alternate, “A fact or event is therefore a kind of snapshot, a central point in which a minimal distinction is condensed between the real and the possible” (15). The imaginary is what reshapes the real, and thus “A fact therefore never appears objectively and naked, but, like everything that appears, is (to use Sartre’s expression) ‘pregnant with the imaginary’” (15-16). And those with greater powers of the imagination and clairvoyance are more able to alter the progress of events and unfolding of facts.]

 

[ditto]

I would argue, in line with Sartre’s phenomenological thinking, that facts are never recorded or registered passively. They appear within a context as an event, a moment, an object, on the basis of which a set of possibilities is generated. In this context, Deleuze aptly spoke of “voyance,” a kind of clairvoyant seeing by which, in what is usually understood by our perception, one discovers a specific detail that can push the course of the circumstances into a totally new and unexpected dimension and direction.8 Think of a comedian who quickly and sharply detects and exploits ambiguities in words and unexpectedly “translates” the meaning of statements into a different register. A fact or event is therefore a kind of snapshot, a central point in which a minimal distinction is condensed between the real and the possible. This distinction is based on the imaginary. A fact therefore never appears | objectively and naked, but, like everything that appears, is (to use Sartre’s expression) “pregnant with the imaginary.” This imaginary gives implicit meaning to the real. The richer your imagination, the sharper your clairvoyance, i.e. the more details will have the power to evoke in the world moments where “everything could have been different.” Or, conversely, the power to get some flexibility and contingency into what has happened and is experienced as irreversible.

(15-16)

8. Cf. Corry Shores, “The Primacy of Falsity: Deviant Origins in Deleuze,” Tijdschrift voor Filosofie 81.1 (2019), 81-130.

(15)

[contents]

 

 

 

 

 

 

 

 

 

Bibliography:

Breeur, Roland. Lies – Imposture – Stupidity. Vilnius: Jonas ir Jakubas, 2019.

The book can be purchased here.

 

Breeur’s academia.edu page and researchgate page.

.

 

 

.

23 Apr 2018

Shores. The Minor Machinery of Animal Packs: Becoming as Survival in Spiegelman’s Maus

 

by Corry Shores

 

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image

 

Corry Shores


The Minor Machinery of Animal Packs:
Becoming as Survival in Spiegelman’s Maus

 

in

 

Graphic Novels as Philosophy

 

 

 

I have uploaded a draft version of this chapter to academia.edu:

https://www.academia.edu/36476152/The_Minor_Machinery_of_Animal_Packs_Becoming_as_Survival_in_Spiegelmans_Maus

 

It links to images and texts on this blog. See the entry:

http://piratesandrevolutionaries.blogspot.com/2014/08/art-spiegelmans-maus-entry-directory.html

 

 Deleuze & Guattari, Orchid and Wasp, figure

(Deleuze & Guattari, Orchid and Wasp, figure)

 

 

 

 

Shores, Corry. 2017. “The Minor Machinery of Animal Packs: Becoming as Survival in Spiegelman’s Maus.” In Graphic Novels as Philosophy, pp.150-171. Edited by Jeff McLaughlin. Jackson, Miss.: University Press of Mississippi. ISBN: 978-1-4968-1327-5.

 

 

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9 Jul 2016

Shores, “‘Ragged Time’ in Intra-panel Comics Rhythm”

 

by Corry Shores

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Fleener Life Party Bad bar band blues.with blog credits

(From p.16, Mary Fleener, Life of the Party. © 1993)

 

 

Corry Shores

 

‘Ragged Time’ in Intra-panel Comics Rhythm

doi.org/10.16995/cg.79

 

[Online at The Comics Grid]

 

[PDF at Academia.edu]

 

 

Abstract:

A phenomenological method of comics analysis can be useful when we need to uncover the structural features of the comics experience itself. One fruitful application would be in the study of irregular intra-panel rhythms, where the temporalized divisions are not visibly indicated but rather are only experienced. By means of Gilles Deleuze’s notion of rhythmic repetition and his elaboration of it through Olivier Messiaen’s theory of ‘kinetic’ rhythm, we will formulate a conception of visual rhythm as being based on metrical irregularity. We further explicate this concept of irregular rhythm by drawing upon the notion of ‘ragged time’ in the early jazz musical form, ragtime. We finally test its usefulness by examining how the ‘jazzy’ rhythms of Cubist-styled panels by Art Spiegelman and Mary Fleener generate an experience of ragged time.

 

Below is a gif summary of the paper, using some of its figures.

 

 photo Shores.RaggedTimeComicsRhythm.GifSummary.2_zps5wat36iu.gif

 

 

Shores, C., (2016). ‘Ragged Time’ in Intra-panel Comics Rhythms. The Comics Grid: Journal of Comics Scholarship. 6, p.9. DOI: http://doi.org/10.16995/cg.79

 

At The Comics Grid: http://www.comicsgrid.com/articles/10.16995/cg.79/

 

PDF available here:

https://www.academia.edu/26837775/Ragged_Time_in_Intra-panel_Comics_Rhythms

 

Blog image from:

Fleener, Mary. (1996). “Rock Bottom: Part 1, or Bad Bar Band Blues!” In: Life of the Party. Seattle: Fantagraphics Books. Originally published in Fleener, M 1993 Slutburger # 4. Montreal: Drawn and Quarterly.

 

Gif image credits found on the images themselves.

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8 Jun 2016

Shores, “Being Machine: Two Competing Models for Neuroprosthesis”

 

by Corry Shores

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Corry Shores

 

“Being Machine:
Two Competing Models for Neuroprosthesis”

 

 

 

I recently placed a pre-print version of this paper on academia.edu [click title above].

 

Below is a gif summary of the paper, using some of its figures.

  Figures from Corry Shores, "Being Machine: Two Competing Models for Neuroprosthesis". photo Shores.BeingMachine.SummaryFigures.8_zpsl9qdly0w.gif

 

 

Shores, Corry. ‘Being Machine: Two Competing Models for Neuroprosthesis’. In Darian Meacham (Ed.), Medicine and Society, New Perspectives in Continental Philosophy, pp.271–294. Dordrecht: Springer, 2015.

At SpringerLink: http://link.springer.com/chapter/10.1007/978-94-017-9870-9_16

 

Pre-print version available here:

  https://www.academia.edu/25917804/Being_Machine_Two_Competing_Models_for_Neuroprosthesis

 

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9 Aug 2012

Cinema & Synthesis: Time for a PreProcessed Deleuze

by Corry Shores
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The following is my presentation at the Annual Conference Dutch Association for Aesthetics at the University of Leuven, Belgium in March of 2012. Thank you Stéphane Symons and others at the Nederlands Genootschap voor Esthetica for organizing such a fruitful and interesting conference.

Corry Shores

Cinema & Synthesis:
Time for a PreProcessed Deleuze



James Williams’ recently published book, Deleuze’s Philosophy of Time, presents a compelling explanation of Deleuze’s three temporal syntheses. Williams’ process-based reading allows him to integrate the actions of each synthesis, like moving parts that fit together to make a larger machine. Yet, he devotes his conclusion to defending his decision to exclude from his analysis Deleuze’s second cinema book, The Time-Image. One of his reasons is that the cinema book portrays Bergson’s pure past as being an instantaneous crystallized doubling of the present and past, causing ‘before’ to be simultaneous with ‘after.’ Yet, if time can be instantaneous, and if ‘before’ can be simultaneous with ‘after,’ then there is no longer any need to regard the synthesis as being a process; for, a process requires the passage of time. So a process-based explanation of Deleuze’s temporality cannot apply to both Difference & Repetition and to the second cinema book. The question we ask is, would a more static or formal interpretation of Deleuze’s time synthesis work in both texts? Williams is also critical of the fact that the cinema text is “fatally attached to the more commonsense and experiential modes of exemplification and explanation we encounter in film.” This is because, instead of explicitly arguing for the simultaneity of the past and present, Deleuze rather expects us to grasp this concept merely by watching certain movie scenes.

However, I instead suggest we explore the possibility that these temporal concepts can be mediated aesthetically and not merely through stated propositions. Perhaps by watching Deleuze’s cited cinema scenes, we might find it easier to see how temporal synthesis can be conceived not as a process but more as a formal status.

To help us understand his logic of becoming, Deleuze in his book The Logic of Sense refers us to a scene in the text of Lewis Carroll’s Alice in Wonderland. Here is Svankmajer’s rendition.

Svankmajer. Alice




[Thanks youtube / chantelle369]

Carroll’s text reads:
“Soon her eye fell on a little glass box that was lying under the table: she opened it, and found in it a very small cake, on which the words ‘EAT ME’ were beautifully marked in currants. ‘Well, I'll eat it,’ said Alice [….]
So she set to work, and very soon finished off the cake.

* * * * * * *

* * * * * *

* * * * * * *

[…] ‘now I'm opening out like the largest telescope that ever was! Good-bye, feet!’”


Deleuze uses this scene to illustrate the ‘pure event’ of becoming. As Alice becomes larger, she of course becomes larger than the size she just was. But in that same stroke, she is as well ‘becoming smaller’ than the sizes she is now growing into. If we are assuming she will continue her growth, then in the next moment, she will be larger; but, that coming largerness is still smaller than the even larger size that comes after that. So it is not that Alice is larger and smaller than herself. Rather, Alice is becoming larger and smaller than herself.
Certainly, she is not bigger and smaller at the same time. She is larger now; she was smaller before. But it is at the same moment that one becomes larger than one was and smaller than one becomes. This is the simultaneity of a becoming […]. becoming does not tolerate the separation or the distinction of before and after, or of past and future.[Logic of Sense]
Also in this book, Deleuze distinguishes possibility and impossibility from compossibility and incompossibility. Possibility and impossibility are matters of logic, specifically, of identity and contradiction. Compossibility and incompossibility, however, are alogical, and they concern compatibility and incompatibility.

So two incompatible states of affairs can coincide, when we are not concerned with possibility, identity, and contradiction. Thus ‘before’ and ‘after’ can coincide; so too can alternative paths of development. Deleuze elaborates this with the concept of bifurcation or forking.

Photobucket

There are two different senses to bifurcation. The first sort is the forking as a break in a linear progress, as described by Stengers. She describe how for certain chemical reactions, changes in one variable can be correlated to the variations of others, but then one variable will reach a point when its path is indeterminable. It could increase or decrease, but this outcome is always left to chance.



The other sort of bifurcation we find in Borges’ story ‘The Garden of Forking Paths.’ It describes a Chinese monk’s unfinished manuscripts for a novel with this same title. It went unpublished because it was incomprehensible. The chapters did not proceed just sequentially. A following chapter would be like an alternate version of the same prior one: “in the third chapter the hero dies, in the fourth he is alive.”
“He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time.” and
“In all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in [The Garden], he chooses— simultaneously—all of them. He creates, in this way, diverse futures, diverse times which themselves also proliferate and fork.” [Borges]
There is one remarkable scene in MankiewiczBarefoot Contessa, which showcases both senses of bifurcation. The soon-to-be Contessa quite abruptly switches companions, taking her down a drastically different path. But this scene was remembered by two different people, each in their own way and with their own slight variations. We will place both scenes side-by-side, listening just to the audio from one.






To illustrate the a-logic of incompossibility, consider for example the very moment when Oedipus realizes he is the son of his wife Jocasta. Up until then, Oedipus had every reason to think that he is not her child but rather someone else’s son. But at the very shocking instant of his painful realization, he still holds onto the belief that he is not her son, while in the same stroke, he realizes that in fact he is her child. Yet, it is not impossible for both to be true. However, for him, those states of affairs are incompatible, they’re incompossible. Nonetheless, there was a moment when he was forced to place both incompatible facts together at once.


So incompossible states of affairs on the one hand, are exclusive. Either one or the other can be so, but not both.

Yet somehow they can also coincide, like ‘before’ with ‘after’ in pure becoming. As the cinematic examples will show, this is the case in the second synthesis of time as Deleuze describes it in Difference and Repetition; it is Bergson’s coincidence of the pure past with the actual present.



Let’s first examine Bergson’s expanding circuit diagram. We first consider what Bergson calls ‘after images’.



They are always a part of our perception. We look at some object, then abruptly avert our gaze to another place.



For a split-second, the image of the initial object will carry-into and overlay-upon the new scene we see. The prior object remains in our field of perception, even though it is actually no longer there. Instead, it is virtually there.

The virtual past-image inserts itself so thoroughly into the new actual-image that “we are no longer able to discern what is perception and what is memory.” Perhaps this is why fast moving objects leave a blurry trail behind them.



But just as soon as we see something, it will already begin to appear differently to us, because we move our eyes or the scene itself changes. Like before, the new image and its predecessor circulate immediately. Yet the even-older image has not gone away; it too re-imposes itself on the present perception, but in a somewhat less vivid way. Nonetheless, this enriches the object with another layer in its appearance.



With each additional moment, another new inner circuit pushes-out the former ones. So we see, then, that the past and present are perpetually crystallized together. “In truth,” writes Bergson, “every perception is already memory. Practically we perceive only the past, the pure present being the invisible progress of the past gnawing into the future.”



Yet even though all of our past is always interposed in the present in an implicit way, sometimes what we see causes one recollection to stand-out more explicitly among the rest. Often we observe something in our daily life that causes certain prior memories to flare-out before our “mind’s eye.”

And sometimes our flashbacks can be so vivid that they drown-out the actual things we see. We then begin to feel as though we are reliving that past experience.

Deleuze illustrates these recollection-circuits with the cinematic flashbacks in Carné’s movie The Daybreak (Le jour se lève). The film follows events happening from sundown to dawn. During this short period, a murderer flashes back into his past. Whenever we return to the present, we hear a heavy doom-filled bass and drum beat. It gives us the feeling we are moving inevitably toward a fatal end. So during the flashbacks, the past is so vibrant that it completely covers-over the actual present things standing before him in his room. As viewers, we only see what he is remembering, and not the events still carrying-on in the present while he dreams. But because upon returning we hear that fatal march toward the end, we are reminded that even while reminiscing, we never escaped the current doomed situation.

So even though flashbacks take us away to a prior time, we should still realize that the present time caries forward simultaneously with the unfolding of the past, just as the character in the film keeps staring out his window while still calling-up distant memories.



The third synthesis is much more complex. However, our aim is to see how the cinema examples illustrate a formal rather than a process interpretation of the syntheses.

In Difference & Repetition, Deleuze characterizes the third synthesis as the pure and empty form of time.
Link

We will see that his treatment of Ozu in the Cinema books portrays this temporality with still rather than with dynamic imagery. Deleuze writes:
The vase in Late Spring is interposed between the daughter’s half smile and the beginning of her tears. There is becoming, change, passage. But the form of what changes does not itself change, does not pass on. This is time, time itself, ‘a little time in its pure state’[…] everything that changes is in time, but time does not itself change […’]
The daughter has been reluctant to marry, because this would leave her widowed father all alone, creating too much drastic change in both his and her lives. Yet in this scene, she consents to her father’s wishes, and decides in fact that she will marry. Yet at that moment, Ozu shows the still life scene of the vase. This grand climactic moment of the film is substituted by a pure stillness. We feel a dramatic change, while perceiving a motionless image. The actual events coming before and after are not present in the still life, but they are both implied in the same still image, because this transition-point in the story marks the most drastically different ‘before’ and ‘after’. But the actual content of a determinate ‘before’ and ‘after’ are removed from this still image, nonetheless, this purified impression of great alteration remains. We feel in this moment the coincidence of an empty before and an empty after, that is, of the pure form of time.



But we will now consider a final image of time that shows something in continual change.
In […] Chronopolis, Kamler fashioned time out of two elements, small balls manipulated with pointed instruments, and supple sheets covering the balls. The two elements formed moments. [Deleuze, Cinema 2]


Notice Deleuze speaks here of forming moments, and not a flow of time, and also not an extending passage of time. When the two elements make contact, some new variation results in the clay. The figure, with each contact, becomes something different. But it does so by changing what it already was. What it was, and what it is becoming – its before and its after – coincide in each moment of contact.

Kamler. Chronopolis




The portrayal of time in this scene is not the extending passage of duration through which the changes happen, like how each frame of the movie-film blurs together to create the illusion of continuous motion. Rather, synthesis is found completely in each single frame alone, where the ‘before’ is synthesized simultaneously with its ‘after.’ It is not a process; it is a formal condition for time. This, I propose, is what Deleuze means by temporal synthesis.



Alice growing video:
http://www.youtube.com/watch?v=riAUmx_ObN0
Thanks chantelle369

4 Jul 2012

Kneading Friendship: Deleuze, Blanchot, and the Folding of Disciplines

by Corry Shores
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The following is Julie Van der Wielen's and my presentation at the Deleuze, Philosophy, Transdisciplinarity conference at Goldsmiths College, University of London in February of 2012. Thank you Masa Kosugi, Guillaume Collett, and Chryssa Sdrolia for all your help and for organizing the wonderful conference.


Julie Van der WielenCorry Shores

Kneading Friendship:Deleuze, Blanchot, and the Folding of Disciplines


[Corry Shores reads:]

We would like now to explain Deleuze’s appreciation for Blanchot’s idea that friendship is the condition for thought, and as well, how for both of them, friendship is as well philosophy’s path to transdisciplinarity.


[Julie Van Der Wielen reads:]


Friendship

When you have a friend who tries to get to close to you, or you try to get to close to a friend, either by trying to be the same or by trying to know his deepest thoughts, it will get uncomfortable. Also, we are all aware of the fact that it’s wrong to dispose of knowledge we have from a friend and to talk about the friend when this one is absent. Distance is needed, even between the closest friends. In his reflections about friendship, Blanchot takes the distance between friends as a necessary condition for their relation.

Because the other is irreducibly other and I am inevitably separated from him, a kind of collision takes place between me and the other wherein I’m confronted to a limit: I’m radically different from the other, I can’t posses him and even the possibility of really understanding the other person is questionable. This distance between me and the other, our being radically separated from each other is the precondition for a relation between us. The distance as an interval, an interruption of being or as a no man’s land, is where friendship takes place. In this openness of the interval the other is present and nearby, but this proximity hides and affirms the other as very far-off and belonging to no one. What I see of my friend when I talk to him, when I decipher his gestures or silence is an openness to his thought, nevertheless I will never really access this distant thought. Even in the closest moments, the infinite distance between friends remains.

This is why, in the last chapter of l’Amitie, Blanchot writes on the impossibility to write about his friend Georges Bataille. He doesn’t accept to write on Bataille’s character or on his thoughts because with his death, their relation as separation disappeared and all that is left are memories of that of Bataille which was close to people, not the distant reality where this proximity was the affirmation of. Without the presence of the friend, there is no possible openness to him and his thought. My relation with my friend preserves the openness to his thought. As the presence of my friend and our relation are a condition for me to find a possible openness to him, any grasp on him is out of the question, if without a relation or dialogue with him. Our relation follows an unpredictable course, where presence and dialogue are necessary to openness. For this reason I cannot know univocally who my friend is, and he will always be infinitely far from me. I can only find openness to his thought when we are present to each other, in an unpredictable movement of understanding which makes it impossible for me to get hold on him.

Another name Blanchot gives to the interval between friends, rising from the unpredictability of the other and his absolute strangeness, is discretion. This is not just the outright refusal to make assertions about the friend, or to dispose of knowledge I have of him, it is the pure interval as everything that is between us. The discretion doesn’t prevent communication, it links us up in difference, making communication possible through speech or silence. The interval or discretion is a necessary condition to communication. Real communication implies the acknowledgement of its limit, the distance between two parties. This limit shows it is impossible to talk about my friend but only to talk to him. It is an impossibility which opens up infinite possibility: impossibility of understanding by which we are driven to create new meaning, radical difference that pulls together.

We can see the interval operate in speech: talking together is never actually talking at the same time. Speech goes from one to the other, the talkers take turns. The impossibility to talk together opens up to the possibility of a dialogue. This dialogue follows an unpredictable course since there is always the possibility of contradiction, development or affirmation of my thought by the friend. The impossibility to predict the course of the conversation is a necessary condition to communication.

In a dialogue with a friend I should never claim comprehension of my friend or of fixed meaning. Communication and the relation with my friend is an unpredictable movement rising from the impossibility to get hold on the other. When Blanchot claims friendship is a necessary condition to thought, we should look at it this way: thought should be openness without pretention of fixed meaning, as in friendship communication should be a dialogue with the other as an unpredictable movement. In the Abecedaire, Deleuze paraphrases Blanchot saying friendship is a condition for thought, not because we need friends to think but because the category of friendship is a condition for the exercise of thought.


[Corry Shores reads:]

We also find Deleuze offering a strikingly similar account of friendship. Consider first his example of comedic friends, Laurel and Hardy.


Their cartoonish contrasts suggests they would regard one another as though from a great distance. One is fat, the other skinny; one more extroverted, the other more introverted. Yet, they always seem to be in communion with one another, despite their features that might normally push them apart. It is as if they are constantly together in communication. Even when one is physically distant from the other, we still never sense that there is a break in that continued communicative link that holds them together. But, what about when they seem to miscommunicate, like when Hardy says he is waiting for a streetcar, as if charmed rather than enraged by Laurel’s feigned innocence? Despite the disconnection and absurdity of their messages to one another, they do not break their constant bond of communicative contact.

Is it not as though they share a unique language that makes sense only to them? Would we really be surprised if Laurel and Hardy spent a whole day together without ever saying even one word, while the whole time, still conducting a sort of unspoken dialogue that unfolds without any need for conventional signs?


For Deleuze, our friendships form not on the basis of our explicit messages to one another, but rather on a more profound sort of reading of one another’s implicit and even inexplicable expressions to one another, or what Deleuze here calls signs.

Yet they are not signs in the sense of representations; they instead form a sort of prelanguage. But how are they read, if it is not by means of explicit interpretations? One reason is that they are sensed affectively. Friends are charmed by these implicit messages that reveal something slightly less than sane about the other, something that would only lose its meaning if it were clearly stated. These mutually-affective charming signs pull friends together even though there remains between them something mysterious and unspoken, something that might normally make people feel a distance to one another. And yet, it is not like a secret code that both can decipher. Friends do not share common ideas. They do not necessarily know what the other means, although they still know that they are saying something meaningful to one another.

Deleuze even discusses his own friendships to further illustrate. When he and his hypo-chondriac friend-converse, there might seem to be an absurd disconnect between what they say to one another. For example, if Deleuze asks him how he is doing, his friend replies “like a cork tossed by the sea.” But with Guattari, they may both just simply observe to one another that they have the same brand of hat. In the first case of communication, their explicit meanings did not need to cleanly match for them to read their deeper inexplicable signs. Yet, in the second case of noticing the same hats, it seems they say nothing important at all to one another; but nonetheless, something more profound transpired between them.

Now, to understand why Deleuze appreciates Blanchot’s point that friendship is the condition for thought, we will turn to Deleuze’s discussion of neurophysiology. What we will then suggest is that a friendship of disciplines happens not when they completely understand one another, but when they like friends are sensitive to each other’s inexplicable and charming signs.

We make this connection, because Deleuze talks in similar terms when discussing the brain activity at work in our thinking.

[Clips should be played and viewed simultaneously, if possible]



The brain’s production of ideas is a bit like the activities in a pinball machine. Neural electrical events often occur randomly, indeterminately, and probabilistically. Also, there are both continuous and discontinuous communications between neural circuits. Deleuze notes how very distant neurons can make a ‘jump’ over their gap in this probabilistic scheme.




To further illustrate, he describes a mathematical concept called the baker’s transformation. It gets its name from the procedure that bakers perform when kneading bread dough. They stretch it, which makes it flatter. Then they fold it back upon itself, which returns it to its thicker form. Here first is Deleuze showing the transformative motions with his hands.


bakers transformation animation
(Animation above is my own, made with OpenOffice Draw and Unfreeze)

Likewise, in the Baker’s Transformation, a square is stretched and then folded back upon itself. This animation shows the geometrical rendition of the transformation.

bakers transformation deleuze intensity depth animation
(Animation above is my own, made with OpenOffice Draw and Unfreeze)

What Deleuze observes is how distant points will come together after some number of transformations.

Deleuze uses this example not only to illustrate neuro-biological activity during thinking, but also how he was able to connect ideas between disciplines that he had no training or background in. These illustrations might remind us of how friends communicate without knowing explicitly each other’s meanings. On the basis of charming signs that Deleuze detects in various disciplines, he is able to cross these disparate fields in order to understand ideas that connect them, even without him having the expertise normally needed for uncovering these concepts. He offers two examples.








Michelson Morely Experiment Animation for Bergson's Duration and Simultaneity
(Animation above is my own, made with OpenOffice Draw and Unfreeze)

Delaunay image credits, in order
(Thanks spenceralley)
(Thanks leninimports)
(Thanks keepingupwithmyjoneses)
(Thanks joearevaloadam)
(Thanks 1artclub)

In one, he comes to understand an aspect of relativity theory through painting. He wanted to conceptualize regarding the Michelson experiment the way that a light beam expresses a form that is independent of the geometrical structure of the channel that the light beam moves through. In this moving diagram above, we observe the independent diagonal path that the vertical beam traverses, were it seen from an immobile point of reference.

Deleuze arrived at this concept not by working through the mathematics, but instead when he conjoined this scientific expression of the concept with the artistic one of Delaunay, who paints not the geometrical forms that the light shines on, but rather, he paints light itself as independently expressing forms in its own way. His other example is the way he came to understand Riemann space. He needed to grasp how each point is like a joint that varies the space in a non-predetermined way. He obtained this concept by juxtaposing the mathematical expression of this concept with these scenes in Bresson’s Pickpocket.


Deleuze further accounts how mathematicians tell him after reading the details of his mathematical writings that it fits together within what they know in their more specialized way, even though they and Deleuze would probably misunderstand each other in an intellectual conversation. He as well had such resonances with artists. In fact, Deleuze explains the importance also for philosophers to have a non-specialized reading of other philosophers, as if a philosopher for example would read Spinoza the way a merchant would.

For philosophical concepts to form, Deleuze explains, we need as well to have a non-philosophical reading of philosophical texts. So in this way, philosophers should alsoin a sense befriend other philosophers, as well as other non-philosophers, by dwelling below one other’s specialized terminology to instead produce concepts through non-representational communication.


[Julie Van der Wielen reads:]

Philosophy as friendship

Like Deleuze, Blanchot thinks friendship is a condition for thought. Philosophy should proceed in dialogue with the other, otherwise it strangles itself. Nothing is left then but thought thinking itself, scraping concepts until they’re empty. Blanchot himself oscillates between philosophy and literature, saying they’re both open to one another. He believes philosophy needs to be talked to from the outside, staying at her side we have to talk to her from outside, making a dialogue possible. As thought, philosophy needs to be in dialogue with a distant other in order to continue her unpredictable discourse.



Image credits

Delaunay

http://spenceralley.blogspot.com/2011/12/sonia-delaunay-again.html


http://joearevaloadam.blogspot.com/2009/08/robert-delaunay-1885-1941-hommage.htm

http://www.leninimports.com/robert_delaunay.html


http://keepingupwithmyjoneses.blogspot.com/2011/08/explore-art-projects-robert-delaunay.html

http://www.1artclub.com/tall-portuguese-woman-by-robert-delaunay/