Maurice Merleau-Ponty’s criticism of Bergson's theory of time seen through the work of Gilles Deleuze

In this article I examine the relation between the philosophies of Maurice Merleau-Ponty and Gilles Deleuze by looking at the way they refer to the time theory of Henri Bergson. It appears that, although Merleau-Ponty copies some fundamental Bergsonian insights on the nature of time, he presents himself as a critical reader of the latter. I will show that Merleau-Ponty's interpretation of Bergson differs fundamentally from the one by Deleuze, but that Merleau-Ponty's 'corrections' to Bergson fit Deleuze's reading of Bergson very well. This indicates a similarity with respect to what is at stake in the philosophies of Merleau-Ponty and Deleuze. The critical reference that Deleuze makes to Merleau-Ponty's conception of cinema and thus of movement is hence not justified, but the result of a selective and prototypical reading of the early Merleau-Ponty

The reality of real time

According to Bernard Stiegler the technological contrivances that rule our world have set in motion dangerous developments. Although Stiegler is not a technophobe, he believes that the technological devices that are constructed around real time (live broadcasting, mobile phone communications, digital photography, etc.) introduce a new relation to time that jeopardises the cohesion of society. They erase the delay of time that is essential to it and thereby wipe away the singular, which is a crucial element in the construction of the social. This essay examines the nature of this argument and queries its factual basis. It does this by first exploring the technological or prosthetic nature of Dasein by referring to Heidegger’s definition of Dasein as ec-static time. After this short exposition, the essay shows how Stiegler strengthens this pre-prosthetic nature of time that can be found in Heidegger into a time which is fully fledged prosthetic or fundamentally constituted by the technological devices that exteriorise it. The second part of the essay focuses on Stiegler’s hesitations and even contradictory statements regarding the contemporary production of time. Sometimes he presents real time as a factual accomplishment, sometimes he is more careful and characterises it to be merely a tendency; there are passages in which he proclaims the end of history, and other ones in which he presents that end as a fiction and a warning. The comments on the rather dramatic and evocative pages Stiegler inserts in La technique et le temps 1, together with ideas and comments of Maurice Blanchot and Richard Beardsworth, serve as a bridge to discuss the philosophical importance of an ambiguity in the actuality of real time

Review of Bernd Herzogenrath's edited volume 'Time and History in Deleuze and Serres'

This book definitely fills a gap in the scholarly literature. There did not yet exist a book on the resonances between the philosophies of Michel Serres and Gilles Deleuze, resonances that clearly exist and that were also confirmed by Michel Serres himself in the 1995 interview with Hari Kunzru. Filling this gap, this edited volume at the same time helps to relieve the lack of extended scholarly literature on the work of Michel Serres in particular. This book makes one feel like exploring Serres’s oeuvre more thoroughly and thus it certainly succeeds in calling to attention this somewhat neglected author. However, we cannot award full marks overall because the quality of the different chapters is too variable. This is quite remarkable in view of the individual records of the contributors, who are almost all either Deleuze or Serres scholars of great renown

Het gaat, een beetje

In dit opiniestuk beschrijf ik hoe een getraumatiseerde Parijzenaar troost en duiding vindt in de Franse medi

'We have to become the quasi-cause of nothing, - of nihil' : an interview with Bernard Stiegler

In this interview Bernard Stiegler situates his philosophy with respect to the theories of Kant, Husserl, Derrida and Deleuze. It also contains an extensive comment on the attacks on the French news paper Charlie Hebdo

Amsterdam: French translation of a chapter from the Dutch novel 'De Bruid van Duchamp' by K. Schippers

This text is a translation in French of the Dutch novel 'De Bruid van Marcel Duchamp' by K. Schippers (chapter 9 only). This chapter is a fictionalized biography that explores the nature of the work of the conceptual artist Marcel Duchamp. It also reveals the reception of Marcel Duchamp's work, and dada in general, in Holland, which is the subject of this issue of Relief

Traduction de 'De Bruid van Marcel Duchamp' de K. Schippers

Le roman de K. Schippers, De Bruid van Duchamp, publié en 2010 aux éditions Querido (Amsterdam), est l'expression de l’admiration nourrie depuis ses débuts par l'auteur pour Marcel Duchamp. Dans les années 1960, Schippers se distingue par l'introduction du ready made dans la poésie néerlandophone. Contrairement à la masse d'ouvrages consacrés à Duchamp, Schippers a conçu l'écriture de ce roman en fonction de son contenu : pour restituer l'esprit duchampien, Schippers ne procède pas à une énième analyse ou à l'élaboration de paradigmes d'étude, mais travaille sur le style. Le roman est un mélange des genres policier et biographique, ponctué d’éléments sur la réception de Duchamp aux Pays-Bas dans les années 1960. Comment mieux évoquer Duchamp, artiste du mystère et de la surprise qui voulait faire de sa vie une œuvre d'art ? Dans la traduction française du livre que nous élaborons actuellement, nous avons tenté de restituer cette correspondance de la forme à son contenu

'Digital Studies': het wijsgerig kader (vertaling van tekst B. Stiegler)

In dit artikel beschrijft Bernard Stiegler het wijsgerige kader van de nieuwe discipline 'digital studies

'We moeten de quasi-oorzaak van het niets worden, van het nihil': een interview met Bernard Stiegler

In dit interview situeert Bernard Stiegler zijn filosofie mbt filosofen zoals Deleuze, Kant, Husserl, etc. en gaat hij dieper in op wat volgens hem de oorzaken zijn van de aanslagen op Charlie Hebdo (jan. 2015