Showing posts with label deformation. Show all posts
Showing posts with label deformation. Show all posts

10 Jan 2013

Pt3.Ch8.Sb8 Somers-Hall’s Hegel, Deleuze, and the Critique of Representation. ‘Contingency in Hegel’s Philosophy of Nature’. summary


by
Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]

[Central Entry Directory]
[Deleuze Entry Directory]
[Henry Somers-Hall, Entry Directory]
[Hegel, Deleuze, and the Critique of Representation, Entry Directory]


[Note: All boldface and underlining is my own. It is intended for skimming purposes. Bracketed comments are also my own explanations or interpretations.]


 

Henry Somers-Hall

 

Hegel, Deleuze, and the Critique of Representation.

Dialectics of Negation and Difference

 

Part 3: Beyond Representation



Chapter 7: Hegel, Deleuze, and the Structure of the Organism



Subdivision 8: Contingency in Hegel’s Philosophy of Nature




Brief Summary:

To explain evolution, we need an account of accidental, contingent variations. These can be seen either positively or negatively. A theory of anatomy like Cuvier’s or Hegel’s is teleological, meaning that it identifies anatomical parts in terms of their functionality, their purpose in the function of the organism. This means that if there were to be a deviation, a slight mutation, then this changes the structure of the organism’s functioning and thus degrades its functioning. Geoffrey’s homological theory of anatomy does not regard anatomical parts in terms of their purposes but rather in terms of how their interrelations correspond isomorphically to an abstract or transcendental model. This means that parts can change both form and function so long as their structural relations match the mold. A deformity then is the model expressing itself in another way, so this would be a positive account of variation rather than a negative one. This notion of homologous variation is central to evolution which is a process of the natural selection from a pool of variations.




Summary


Previously we saw how Geoffroy’s homology theory of anatomy, or unity of composition, is central to the development of evolution theory, and it is also like Deleuze’s Idea. Cuvier’s teleological theory of anatomy however, is antithetical to evolutionary theory.

 

This is partly because Cuvier’s theory does not allow for contingent, accidental traits to appear. A slight change in one anatomical part changes the structure of functional relations of all parts, which would too radically change the organism’s overall functioning. Hegel’ position is not as extreme.

Hegel writes that "nature everywhere blurs the essential limits of species and genera by intermediate and defective forms, which continually furnish counter examples to every fixed distinction" (PN, § 250, Rem.) [233]

Also, humans have organs that are remnants of earlier forms, and Hegel thought “less differentiated forms can contain organs belonging to higher species, as for instance snakes are characterized by Hegel as possessing vestigial legs.” (233) But Hegel understands these variations in negative terms.

"In order to be able to consider such forms [of monstrous birth] as defective, imperfect, and deformed, one must presuppose a fixed, invariable type" (PN, § 250, Rem.) [233]

But, Hegel notes, these deviations could be positively a difference in organization rather than an impotence of nature. But if we are using a teleological theory, this means that if structure changes, then functionality reduces.

As Darwin notes, such a view is not possible on a teleological account, as the correlation of structure to purpose means that a reduction in the purposive role is correlated to a degradation in structure. (233)

And, if an organic structure is dialectically intelligible, it is understood teleologically. But as we saw, teleology cannot explain homology, thus Hegel’s notion of the contingency of deformation does not make his theory compatible with homology and thus also with evolution.

Further, while Hegel may give greater latitude than Cuvier to contingency, it is still the case that insofar as an organic structure is dialectically intelligible, it is understood in terms of the teleological account. Thus, while it may be possible to explain deformations on Hegel's account, the homology, a correspondence vital to the evolutionary account, cannot be explained dialectically. (233)

Thus we cannot have a positive study of deviations and aberrations in Hegel, a science of teratology; and yet, teratology is a necessary precondition for evolutionary theory. (233-234) Thus Somers-Hall concludes:

Ultimately, I believe, the idea of a compatibilism between evolutionary theory and Hegelian dialectic therefore fails. (234a)

 

Note also the relation of part whole in terms of individual and species. In order for the Notion to become present for itself, the animal's singular finite existence must be connected with its species, the universal. This involves the finite passing into the infinite, and the relation can be seen as between bad and true infinite. First consider the spurious infinite in the relation between species and individual: the genus maintains itself because individuals continually reproduce and repeat the form. Species is here understood as the repetition of the individual (234-235) But, as we examine increasingly differentiated species, we get the sense that the species is the animal’s essential determination. More differentiated species [more advanced/complex species] have the feeling of unity with the genus/species. Thus mammals have breasts [to link up and sustain other members of the species] and they look after their young. This feeling of unity increases with differentiation.  Then in human beings, the feeling of unity is replaces with the universality of thought itself. (234) “It is thus in man that the Notion truly becomes aware of itself as the unity of finite subject and infinite, universal, species.” (234) [The individual has a finite life span the but the species itself continues with reproduction.]


Deleuze’s problem with Hegel’s notion of the individual species relation, according to Somers-Hall, is that it sees organism as a closed unity. For Deleuze, the species is a transcendental illusion, and we should focus instead on the genesis of the individual. The organism is open. [Perhaps this is saying that the individual does not repeat a form; it is free to be whatever it evolves into, and a ‘species’ is merely a categorizing designation given after the genesis of the individual. Or the organism is not a self-contained system. I’m missing the point here, so I will just quote it.]

While Hegel ultimately sees in the structure of the species the structure of the infinite, Deleuze once again introduces the concept of a transcendental illusion: "It is not the individual which is an illusion in relation to the species, but the species which is an illusion--inevitable and well founded, it is true--in relation to the play of the individual and individuation" (DR, 250). Deleuze's point here, I take it, is that just as the homology requires reference to a moment of virtuality, a focus on the actual species ignores the importance of the dynamic generation of the organism. As Ansell Pearson notes, if we take as central the organization of the organism, we tend to be led to a conception of the organism as a closed unity. In contrast to this approach, Deleuze brings in the possibility of seeing the organism as essentially open when he argues that the species is ultimately a transcendental illusion and focusing on the conditions of genesis of the individual itself. Ansell Pearson addresses these points in relation to the theory of autopoiesis, which attempts to reintroduce a notion of teleological unity into modern conceptions of the organism as a counterweight to mechanistic conceptions of Darwinism:

Although autopoiesis grants a high degree of autonomy to a living system it ultimately posits systems that are entropically and informationally closed. In defining what constitutes the system as 'open' by placing the stress on operational closure, which can only conserve the boundaries of the organism, it blocks off access to an appreciation of the dynamical and processual character of machinic evolution and is led to present a stark choice between either entropy | or maximum performance. In placing the emphasis on living systems as guided solely by concerns with survival and self-maintenance, even though these are to be understood as endogenously driven and monitored, the theory of autopoiesis too much resembles the theory it seeks to supersede, namely orthodox Darwinism with its focus on discrete units of selection. (235-236)


We now turn to Deleuze and Guattari and transversal moments in the genesis of the organism. [Autopoiesis is the theory that organisms are systems that produce the materials and structures that support themselves, like how cells work. but] Autopoiesis  does not explain how different types of systems serve each other, their symbiosis. So for example, although the mitochondria are organelles that produces materials for the cell, they were originally separates cells that later came to be incorporated into a larger cell structure. Also [we cannot say that organisms are self-contained and not transversally related to other organisms because] bacteria often exchange genetic material and “bacterial DNA forms a substantial part of the genetic code of higher organisms.” (236) [Organisms affect and alter one another, and coevolve symbiotically. We need this concepts for explaining the generation of variety that can be selected from in evolutionary development.]

Through these transversal connections, an element of variability is introduced into the organism. This element of variability is essential to an evolutionary account, since we need to be able to explain not only selection from a variety of organisms, but also the generation of this variety in the first instance. (236)

So we also need an account of how organism's boundaries become disintegrated in order to explain evolution. We need both virtual and actual [because actualization only explains how structures are as they are, but virtuality explains how they can become other than they are. I’m not sure if this is right, because this is all Somers-Hall says.]

These examples point to the need not only to recognize the relative integrity of the organism but also that the disintegration of the boundaries of the organism is an essential moment in the formation of organisms and species. Deleuze argues that it is only with an account that incorporates both virtual and actual moments that we are able to achieve this. (236)

 

Somers-Hall, Henry (2012) Hegel, Deleuze, and the Critique of Representation. Dialectics of Negation and Difference. Albany: SUNY.

28 Mar 2010

Fate of the Wild [77] Francis Bacon: Seated Figure, 1974.Deleuze on Bacon, Painting Series


by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]Link

[Central Entry Directory]
[Deleuze Entry Directory]





[May I deeply thank the sources of these images:
Credits found at the end.]


[The following is quotation. My commentary is bracketed in red.]


Fate of the Wild

Francis Bacon: Seated Figure, 1974
Gilbert de Botton Collection
(Thank you so very much Stampfli & Turci of eaobjets.wordpress.com and Palazzo Reale)



Painting 39 of Deleuze's Francis Bacon: Logique de la sensation. Tome II - Peintures
Painting [77] of the English translation, and
Painting [39] of the Seuil 2002 French


Man becomes animal, but not without the animal becoming spirit at the same time, the spirit of man, the physical spirit of man presented in the mirror as Eumenides or Fate [77]. (Deleuze 2003: 16ab)

L'homme devient animal, mais il ne le devient pas sans que l'animal en même temps ne devienne esprit, esprit de l'homme, esprit physique de l'homme présenté dans le miroir comme Euménide ou Destin. [39] (Deleuze 2002: 28bc)


[The faces of Bacon's figures are often deformed as though pushed-and-pulled in many divergent directions at once. These deformations result from one of Bacon's techniques. He randomly messes-up the figure in unintentional ways, like spattering or smearing the paint. This creates new opportunities to unfold the figure's rendition. But because Bacon develops the work in more than one direction at once, the face is warped, stretched, and mutilated. There are many forces chaotically intertwined in the figure's body. We might say that there is a zone of wilderness, like a jungle of forces, inhabiting the wildly twisted body. The forces are not explicit, yet they are fully there, fully expressed in the body's contortions. They are implicit involved intensities rather than explicit evolved extensities. They flare-up-and-about like the tongues of a wild fire. This is the wild spirit inhabiting intensified bodies, making them more like animal meat than human flesh.

When we view Bacon's paintings, we are affected in such a way that our bodies feel the same affect. Our bodies become disorganized. Its many organs which want to function harmoniously and organically now operate divergently, able only to communicate to each other the differences they are feeling. In a sense, we became animal, because we embody a wilderness. Hence when our bodies and faces become animal, it is not that they take-on specific animal shapes. As Deleuze writes, "the marks or traits of animality are not animal forms, but rather the spirits that haunt the wiped off parts, that pull at the head, individualizing and qualifying the head without a face" (Deleuze 2003: 15-16). So, we embody the spirit of the wild, of the animal.

(Again, thanks Stampfli & Turci of eaobjets.wordpress.com and Palazzo Reale)

That man becomes animal in this way is a fact. But likewise in the same process, animal becomes man. Their inter-becoming, then, is a 'common-fact'. Perhaps as our bodies express their inner wilderness, we give a human embodiment to the animal spirits. When the figure here looks in the mirror, he does not see the image of his body. Rather, he sees its physical spirit. What we observe in the painting is an animal-like creature that is taking-on the form of a Fury or of Fate.

(And once more, I would like to thank Stampfli & Turci of eaobjets.wordpress.com and Palazzo Reale)

The animal spirits, in this way, cross-into a human domain where they come to express a human rendition of destiny. So consider when we are torn-about by wild animal forces. Our bodies then embody the animal spirits of wildness just as much as these spirits take-on human form and express the human in its rawest state or 'fact'. The common fact then is the dual state-of-affairs arising when the human expresses the animal all while the animal thereby expresses the human.]



Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Transl. Daniel W. Smith. London/New York: Continuum, 2003.

Deleuze, Gilles.
Francis Bacon: Logique de la sensation. Paris: Seuil, 2002.

Deleuze, Gilles.
Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.


Images obtained quite gratefully from:


Stampfli & Turci of espaces arts & objets.
Authors here say the image was provided courtesy of Palazzo Reale:


26 Feb 2010

Bare Arm Chairs [38] Triptych, Three Studies for a Portrait of Lucian Freud, 1966. Deleuze on Bacon, Painting Series

by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]Link

[Central Entry Directory]

[Deleuze Entry Directory]


[I am profoundly grateful to the sources of these images:
Editions de la différence; artinvest2000.com; ; ; Credits given at the end.]


[The following is quotation. My commentary is bracketed in red.]



Bare Arm Chairs

(Thanks
Editions de la différence and the Estate of Francis Bacon)


Francis Bacon

Triptych, Three Studies for a Portrait of Lucian Freud, 1966

Painting 25 of Deleuze's
Francis Bacon: Logique de la sensation. Tome II - Peintures
Painting [38] of the English translation
and Painting [25] of the Seuil 2002 French


There are other techniques of isolation: putting the Figure inside a cube, or rather, inside a parallelepiped of glass or ice [6, 55]; sticking it onto a rail or a stretch-out bar, as if on the magnetic arc of an infinite circle [62]; or combining all these means - the round area, the cube, and the bar - as in Bacon's strangely flared and curved armchairs [38]. (Deleuze 2003: 1d)

Il y a d'autres procédés d'isolation : mettre la Figure dans un cube, ou plutôt dans un parallélépipède de verre ou de glace [29, 19] ; la coller sur un rail, sur une barre étirée, comme sur l'arc magnétique d'un cercle infini [3] ; combiner tous ces moyens, le rond, le cube et la barre, comme dans ces étranges fauteuils évasés et arqués de Bacon [25]. (Deleuze 2002: 11b.d)

Coupled figures have always been a part of Bacon's work, but they do not tell a story [60, 61, 66]. Moreover, there is a relationship of great intensity between the separate panels of a triptych, although this relationship has nothing narrative about it [55, 62, 38]. (Deleuze 2003: 2d)
Bacon n'a pas cessé de faire des Figures accouplées, qui ne racontent aucune histoire [1, 2, 53]. Bien plus les panneaux séparés d'un triptyque ont un rapport intense entre eux, quoique ce rapport n'ait rien de narratif [19, 3, 25] (Deleuze 2002: 12d)

Many large contours, for example, are treated as rugs (Man and Child, 1963 [32]; Three Studies for a Portrait of Lucian Freud, 1966 [38]; Portrait of George Dyer Staring into a Mirror, 1967 [45]), and seem to constitute a decorative regime of color. (Deleuze 2003: 106b)

et par exemple beaucoup de grands contours seront traités comme des tapis ( « Homme et Enfant » 1963, «Trois études pour un portrait de Lucian Freud » 1966,«Portrait de George Dyer dans un miroir » 1968, etc.). On dirait un régime décoratif de la couleur. (Deleuze 2002: 142cd)

[Bacon's figures are isolated from each other. Often times he envelops them each in their own shape. Its contour confines the figure. We saw in other cases where the figure was isolated by a round area,



(Thanks
Editions de la différence and the Estate of Francis Bacon)

a box,

(Thanks
Editions de la différence and the Estate of Francis Bacon)

or by means of an extended rail.




In the case of this painting, we see that the deformed armchairs are a mix between a box and round area, with the carpet outline serving like a rail that the chairs are pinned-to.

(Again, thanks
Editions de la différence and the Estate of Francis Bacon)



(Again, thanks
Editions de la différence and the Estate of Francis Bacon)

The chairs isolate the figures. They seem so independent from each other that it no story could explain the relations between them. Yet they are also connected by visual proximity and by the carpet which seems to bring them into the same room, even though we sense an enormous distance between them. The carpet then is an all encompassing field, a 'decorative regime of color' that forces the figures together while at the same time imposing an infinite distance between them. We feel forced to bring them together as we experience them, and yet we have no narrative or representative means to do so. This causes us to experience the figures purely through intense sensation.]

But sometimes the opposition is completely different and surprising: it is the opposition of the naked and the clothed which we find on the right and left panels of a 1970 triptych [60], but which we had also found on the right and left panels of the 1968 triptych [53] in the two visible attendants. More subtly, in the 1966 triptych of Lucian Freud [38], the exposed shoulder with the contracted head, on the left, is opposed to the covered shoulder with the relaxed and sunken head, on the right. (Deleuze 2003: 56b)

Mais il arrive aussi que l'opposition soit tout autre et surprenante : c'est celle du nu et de l'habillé qu'on trouve à droite et à gauche d'un triptyque de 1970 [1], mais qu'on trouvait déjà à gauche et à droite du triptyque de 1968 [5], chez les deux témoins apparents ; et plus subtilement le triptyque de Lucian Freud de 1966 [25] oppose l'épaule découverte de gauche, avec contraction de la tête, et l'épaule recouverte de droite, avec détente ou affaissement de la tête. (Deleuze 2002: 76c)

[Bacon's figures are sometimes intertwined together on the canvass. But also even when they are on separate panels, we might feel forces contracting them together. Our eyes for example might be drawn at the same time to both, or from one to the other in rapid succession. We feel forced to bring them together, to superpose them, all while Bacon has made that an impossibility. It is like forcing together two magnets, north-to-north end. Their fields communicate their oppositional differences to one another. They overlap, contract together, yet do not synthesize. So there is no harmony. Yet each one makes the other shake. Hence there is a resonance of sorts, a resonance of difference.

In this triptych, we might feel compelled at some moment to contract together the figures in the left and right panels.

(Again, thanks
Editions de la différence and the Estate of Francis Bacon)

But then we encounter a resonating difference: the left figure's shoulder is bare, and the right one's is clothed.]

(Again, thanks
Editions de la différence and the Estate of Francis Bacon)

Note also above how the forces deforming each figure's head also seem to resonate on account of their differences.]





(Again, thanks
Editions de la différence and the Estate of Francis Bacon)




Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Transl. Daniel W. Smith. London/New York: Continuum, 2003.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Paris: Seuil, 2002.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.


Images obtained gratefully from:

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.

Head VI :

Triptych, Three Studies of Lucian Freud, 1969:
Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.

Triptych, Studies of the Human Body, 1970