The Times of Deleuze: An Analysis of Deleuze's Concept of Temporality Through Reference to Ontology, Aesthetics, and Political Philosophy

I analyze Deleuze’s concept of temporality in terms of its ontology and axiological (political and aesthetic) aspects. For Deleuze, the concept of temporality is non-monolithic, in the senses that it is modified throughout his works — the monographs, lectures, and those works that were co-authored with Félix Guattari — and that it is developed through reference to a dizzying array of concepts, thinkers, artistic works, and social phenomena. I observe that Deleuze’s concept of temporality involves a complex ontology of difference, which I elaborate through reference to Deleuze’s analyses of Ancient Greek and Stoic conceptualizations of time. From Plato through to Chrysippus, temporality gradually comes to be identified as a form that comprehends the variation of particulars. Deleuze modifies the ancients’ concept of time to suggest that time obtains as a form of ceaseless ontological variation. Through reference to Deleuze’s reading of Gilbert Simondon, I further suggest that Deleuze tends to conceive of temporality as an ontogenetic force which participates in the complex process of individuation. A standout feature of this dissertation involves an analysis of how Deleuze’s concept of temporality is modified in his works on cinema. In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, temporality comes to be characterized as something other than the measure of the movement of existents. In his detailed analyses of Bergson — in Cinema 1: The Movement-Image, Cinema 2: The Time-Image, and Bergsonism — Deleuze suggests that time involves an actualization of aspects of a virtual past as contemporaneous with the lived present. While not an outright denial of the relation of temporal succession, Deleuze’s claim implies a diminishment of this relation’s significance in an adequate elaboration of the nature of temporality. Further, I observe —through reference to Deleuze’s readings of Marx, Kierkegaard, and Spinoza — that (the explicitly temporal) change of societal forms of economic organization is non-reducible to that suggested by linear evolution. The claim is that putatively discrete modes of economic organization do not enjoy temporal displacement with respect to one another. This suggests that linear evolutionary models of societal development are inadequate. This further implies that temporality is non-reducible to the relation of temporal succession. In concrete terms, societal change is characterized as immanent temporal variation. Taken together, these analyses yield the conclusion that Deleuze tends to conceive of the nature of temporality as involving the ongoing realization of multiple — non-identical, sometimes contrary — aspects of a stochastic process of creation that is expressed in ontogenetic circumstances, social evolution, literary works, and filmic works

The clinical challenge of SIADH—three cases

The syndrome of inappropriate antidiuretic hormone secretion (SIADH) remains a challenging disorder to diagnose and treat. Three cases are presented to illustrate these challenges. The first two cases had drug-induced SIADH secondary to a selective serotonin reuptake inhibitor (for depression) or carbamazepine (for trigeminal neuralgia). The third case had SIADH possibly secondary to bronchiectasis. The lowest serum sodium concentrations ranged between 118 and 124 mmol/L in the three cases. Hyponatraemia was not acute and severe symptoms were absent. However, several mild neurological symptoms were present. In the first case, hyponatraemia likely contributed to a fall, which resulted in a fracture of the odontoid process of the axis. The other two cases also had gait disturbances, in addition to nausea, headache, impaired memory, difficulty concentrating and confusion. In at least two of the cases, the underlying cause of SIADH was impossible to reverse. Traditional treatment for SIADH with fluid restriction and demeclocycline failed, caused side effects or increased duration of hospital stay. These examples suggest a need for better treatment options. The introduction of the vasopressin-receptor antagonists for SIADH may be a welcome new therapy to overcome some of these challenges

The creative threshold: Foucault, Agamben and representation

Michel Foucault's The Order of Things compliments Giorgio Agamben's Homo Sacer; Sovereign Power and Bare Life to show how the field of epistemic representation is generated. My theory begins with man at the threshold of epistemic representations. Through his analyses of Las Meninas, the cogito, and the possibility of discovering the origin of man's representation, Foucault shows that representations do not fully capture man and that the visibility of discourse connects man to representations. Agamben clarifies the actions within this visibility by showing the sovereign is the example that is the limit which is not figured in the law's representation. Counter to Antonio Negri, Agamben shows how the sovereign example manifesting constituent power is not fully contained in the representational field. Finally, the sovereign's killing of homo sacer at the law's threshold actualizes the representational set. In this thesis I have argued that the threshold generates the representational field

The Times of Deleuze: An Analysis of Deleuze’s Concept of Temporality Through Reference to Ontology, Aesthetics, and Political Philosophy

I analyze Deleuze’s concept of temporality in terms of its ontology and axiological (political and aesthetic) aspects. For Deleuze, the concept of temporality is non-monolithic, in the senses that it is modified throughout his works — the monographs, lectures, and those works that were co-authored with Félix Guattari — and that it is developed through reference to a dizzying array of concepts, thinkers, artistic works, and social phenomena. I observe that Deleuze’s concept of temporality involves a complex ontology of difference, which I elaborate through reference to Deleuze’s analyses of Ancient Greek and Stoic conceptualizations of time. From Plato through to Chrysippus, temporality gradually comes to be identified as a form that comprehends the variation of particulars. Deleuze modifies the ancients’ concept of time to suggest that time obtains as a form of ceaseless ontological variation. Through reference to Deleuze’s reading of Gilbert Simondon, I further suggest that Deleuze tends to conceive of temporality as an ontogenetic force which participates in the complex process of individuation. A standout feature of this dissertation involves an analysis of how Deleuze’s concept of temporality is modified in his works on cinema. In Cinema 1: The Movement-Image and Cinema 2:The Time-Image, temporality comes to be characterized as something other than the measure of the movement of existents. In his detailed analyses of Bergson — in Cinema 1: The Movement-Image, Cinema 2: The Time-Image,and Bergsonism — Deleuze suggests that time involves an actualization of aspects of a virtual past as contemporaneous with the lived present. While not an outright denial of the relation of temporal succession, Deleuze’s claim implies a diminishment of this relation’s significance in an adequate elaboration of the nature of temporality. Further, I observe —through reference to Deleuze’s readings of Marx, Kierkegaard, and Spinoza — that (the explicitly temporal) change of societal forms of economic organization is non-reducible to that suggested by linear evolution. The claim is that putatively discrete modes of economic organization do not enjoy temporal displacement with respect to one another. This suggests that linear evolutionary models of societal development are inadequate. This further implies that temporality is non-reducible to the relation of temporal succession. In concrete terms, societal change is characterized as immanent temporal variation. Taken together, these analyses yield the conclusion that Deleuze tends to conceive of the nature of temporality as involving the ongoing realization of multiple — non-identical, sometimes contrary — aspects of a stochastic process of creation that is expressed in ontogenetic circumstances, social evolution, literary works, and filmic works