Alistair Welchman

Badiou claims Deleuze’s thinking is pre-critical metaphysics that cannot be understood in relation to Kant. I argue that Deleuze is indeed a metaphysical thinker, but precisely because he is a kind of Kantian. Badiou is right that Deleuze rejects the overwhelmingly epistemic problematics of critical thought in its classical sense, but he is wrong to claim that Deleuze completely rejects Kant. Instead, Deleuze is interested in developing a metaphysics that prolongs Kant’s conception of a productive synthesis irreducible to empirical causation. Where Badiou’s criticism might tell however is in the risk that Deleuze’s strategy runs of contaminating his new metaphysics with a new kind of transcendental idealism. This reading has recently been developed by Ray Brassier and I explore and evaluate it, concluding that in Difference and Repetition this accusation may be correct, but that by the time of Anti-Œdipus, Deleuze (now with Guattari) has the intellectual resources to resist it.

First published in 1818, The World as Will and Representation contains Schopenhauer's entire philosophy, ranging through epistemology, metaphysics, philosophy of mind and action, aesthetics and philosophy of art, to ethics, the meaning of life and the philosophy of religion, in an attempt to account for the world in all its significant aspects. It gives a unique and influential account of what is and is not of value in existence, the striving and pain of the human condition and the possibility of deliverance from it. This translation of the first volume of what later became a two-volume work reflects the eloquence and power of Schopenhauer's prose and renders philosophical terms accurately and consistently. It offers an introduction, glossary of names and bibliography, and succinct editorial notes, including notes on the revisions of the text which Schopenhauer made in 1844 and 1859.

This thesis is an interrogation of the viability of transitive production, which I associate with the Aristotelian term hylomorphic. The central axiom of hylomorphic production that will be targeted for critique is that the agent of production must be distinguished absolutely from the product. The thesis follows the thought of production primarily-but not exclusively-in its characteristically modem instantiation in the Kantian transcendental. The argument seeks to demonstrate that the productive aspect of the operator of transitive production is incompatible with the transcendental element, and that Kant was himself increasingly aware of this problem. The Third Critique, under the rubric of an aesthetics, it will be argued, manifests this awareness in its problematic of a manifold of empirical laws. That this constitutes a difficulty for transcendent idealism means that the transcendental operators of the First Critique have failed to constitute experience in a relevant and important way. Furthermore, it is possible to see in some of the famous slogans of the Third Critique, an indication of another mode of production which is immune to the difficulties of the axiom of transitive production. In conclusion I suggest that the consequences of this new mode of intransitive production, associated with materiality, is destructive of the thought of the axiomatic otherworldliness of production operators. Production is not operated at all. Some suggestions are then made as to the explanation of the error embodied in the axiom of transitivity

Theoretical response to technical development tends to come in two overall forms: that technology is either transparent or opaque to society. The transparency thesis lays its cards directly on the table: technology is essentially neutral and has merely instrumental relation to the social. The opacity thesis suggests that technology is not essentially neutral, but has effects of its own on social life. This thesis itself subdivides clearly into two: those who denigrate and those who celebrate the effects of technology. The former category is the one that has been most filled by philosophers and theoretically-minded social commentators, and includes, among others, Heidegger's analysis of technology, the Frankfurt School and Max Weber. The latter category is associated primarily with two movements, of dubious socio-political sensitivity: futurism and North-American techno-libertarianism. Far from contesting the premise of the transparency arguments, these views still think of technology as instrumental. It's just that instrumentality is regarded as a problem by denigrators, whereas sheer increase in prosthetic capacity is regarded as a blessing by the celebrators.

Kosch attempts to show that post-Kantian German idealism duplicates and exacerbates a kind of intelligible determinism that is incompatible with a muscular conception of human freedom. Schelling, in his Freedom essay of 1809, finally recognized this; and his attempt to reconfigure idealism from within was motivated by his recognition of the need to provide a place for human freedom. The attempt failed (even if interestingly) but is taken up again and more successfully by Kierkegaard. While the account of Kant draws on a quite familiar interpretive matrix, the application of this matrix to Schelling and Kierkegaard is novel, fruitful, compelling and extremely rigorously laid out.

F.W.J. Schelling's Ages of the World has just begun to receive the critical attention it deserves as a contribution to the philosophy of history. Its most significant philosophical move is to pose the question of the origin of the past itself, asking what “caused” the past. Schelling treats the past not as a past present – but rather as an eternal past, a different dimension of time altogether, and one that was never a present 'now'. For Schelling, the past functions as the transcendental ground of the present, the true 'a priori'. Schelling's account of the creation of this past takes the form of a theogeny: in order to exist, God needed to separate the past from the present. By grounding the creation of the past in a free decision of God, Schelling tries to conceptualize temporality so as to preserve the sort of radical contingency and authentic freedom that he considers essential features of history. In so doing, he opens up a way of viewing time that avoids the pitfalls of the Hegelian dialectic and anticipates some of the 20th century developments in phenomenology

This chapter examines the ways in which French philosopher Gilles Deleuze offers conceptual resources for an enactive account of language, in particular his extensive consideration of language in The Logic of Sense. Specifically, Deleuze’s distinction between the nonsense of Lewis Carroll’s portmanteau creations and that of Antonin Artaud’s “transla- tion” of Carroll’s Jabberwocky highlights the need for an enactive, rather than merely embodied, approach to sense-making, particularly with regard to the general category of what Jakobson and Halle (1956) call “sound symbolism”.