‘Procedes Huc’: Voltaire, Newton, and Locke in Lettres Philosophiques

In Lettres philosophiques, Letter XIII is devoted to Locke, as are Letters XIV–XVII to Newton. The ordering of these letters is not adequately explained by comparing the dates of birth or death of the two thinkers. For the Letter on Locke not only precedes but also ‘frames’ those on Newton, in the sense that it provides the reader with a guide through the philosophical intricacies of Letters XIV–XVII. This works in two ways. On the one hand, in order to defend Newton against his detractors Voltaire broadly adopts Locke’s perspective on the relation among words, ideas and things. On the other hand, he subtly and misleadingly grafts Locke’s epistemology onto the Principia, though it differs from Newton’s epistemology in significant respects. For Locke, unlike Newton, holds that we can identify fixed, permanent limits concerning what kind of thing humanity can know of matter and the universe. Voltaire presents Newton’s ideas as though they respected Locke’s limits. However, we can glimpse Voltaire’s own attitude in the final words of Letter XV: ‘Procedes huc, et non ibis amplius’: Voltaire agrees more closely with Locke than Newton concerning the limits of epistemology

Creative processes: From interventions in art to intervallic experiments through Bergson

The recent turn to creativity in geography has led to a proliferation of methodological frameworks that enable us to look at and think about the world differently. For the most part, creativity in geography gets mobilised as an artistic endeavour through empirical research with a particular person or product. One implication of this focus is that creativity gets tied to a foundational subject as the instigator of creative practice. In this paper I want to unpack creativity in geography through a particular theoretical lens, in order to explore a wider array of creative agencies. To this end I turn to Henri Bergson, and his very specific notion of creativity as a process of intuition at the interval. Crucially, Bergson offers a way of processually rethinking the corporeality and materiality of creative practice, enabling us to broaden our engagements with creativity so that they are more open to the diverse ways the material world engages us.<br/

A method of intuition:becoming, relationality, ethics

This article examines social research on the relations between (young) women's bodies and images through Bergson's method of intuition, which suggests that the only way a thing can be known is through coinciding with the uniqueness of its becoming. I suggest that in this aim, intuition is, necessarily, an intimate research method. Rather than apply Bergson's argument to this area of social research, I examine the resonances between his philosophical method and the moves within social research to attend to the performativity, creativity or inventiveness of research methods. With a focus on my own research, which explored the relations between 13 girls' bodies and images from a feminist-Deleuzian position, I argue here that the interconnected issues of becoming, uniqueness and coincidence that Bergson raises connect with concerns in social research about ontology, concepts and methods. In particular, I suggest that relationality is crucial to these connections. Drawing through the significance of relations, I argue that intimate, intuitive research is desirable because of the ethics that it opens up and enables; ethics intimate in attention to the becoming unique to the object at stake in research and in the attempt to coincide with this uniqueness