Claire Colebrook

Cinema, thought and time -- Deleuze's cinema books -- Technology -- Essences -- Space and time -- Bergson, time, and life -- The movement-image -- The history of time and space and the history of cinema -- The movement-image and semiotics -- Styles of sign -- The whole of movement -- Image and life -- Becoming-inhuman, becoming imperceptible -- The deduction of the movement-image -- Art and time -- Destruction of the sensory motor apparatus and the spiritual automaton -- Time and money -- Art and history -- Monument -- Framing, territorialization, and the plane of composition -- Politics and the origin of meaning -- Transcending life and the genesis of sense -- Beyond symbolic and imaginary -- Shit and money -- Exchange, gift, and theft -- The fiction of mind -- Collective investment and group fantasy -- The time of man -- The intense germinal influx.

One of the most important aspects of Gilles Deleuzes philosophy is his criticism of the traditional concept of praxis. In Aristotelian philosophy praxis is properly oriented towards some end, and in the case of human action the ends of praxis are oriented towards the agents good life. Human goods are, for both Aristotle and contemporary neo-Aristotelians, determined by the potentials of human life such as rationality, communality, and speech. Deleuzes account of action, by contrast, liberates movement from an external end. In his books on cinema Deleuze argues that we need to think of events in terms of their power, and not as movements within an already determined image of life. In order to think events as such we need to confront the power of the virtual. This is achieved by a philosophy of life in which becoming is not a means towards the realisation of some end. Rather, becomings are best seen as counter-actualisations: ways in which the already-constituted actual world always bears a power to become other than it already is. If we consider dance in this new context, then dance is neither expressive of an already existing life, nor a pure act that is self-sufficient and self-constituting. Rather, dance is a confrontation with life as a plane of open and divergent becomings.

This essay explores three deconstructive concepts – archive, anthropocene, and auto-affection – across two registers. The first is the register of what counts as readability in general, beyond reading in its narrow and actualized sense.. The second register applies to Derrida today, and what it means to read the corpus of a philosopher and how that corpus is governed by proper names. I want to suggest that the way we approach proper names in philosophy and theory is part of a broader problem of our relation to what it is to read, and how readability intertwines with the human.

Jacques Derrida: Key Concepts presents a broad overview and engagement with the full range of Derrida's work - from the early phenomenological thinking to his preoccupations with key themes, such as technology, psychoanalysis, friendship, Marxism, racism and sexism, to his ethico-political writings and his deconstruction of democracy. Presenting both an examination of the key concepts central to his thinking and a broader study of how that thinking shifted over a lifetime, the book offers the reader a clear, systematic and fresh examination of the astounding breadth of Derrida's philosophy.