Conor Heaney

In this paper, I seek to extract what I call an empiricist mode of existence through a combined reading of two under-researched vectors of Gilles Deleuze's thought: his ‘transcendental empiricism’ and his ‘affirmative naturalism’. This empiricist mode of existence co-positions Deleuze's empiricism and naturalism as pertaining to a stylistics of life which is ontologically experimentalist, epistemologically open, and immanently engaged in the world. That is, a processual praxis of demystification and organising encounters towards joy.

This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben's discussion, first, of Nietzsche and the active nihilist's relation-ship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben's notion - Philosophie – Nouvel article

This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben’s discussion, first, of Nietzsche and the active nihilist’s relationship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben’s notion of the “rhythmic” and “poietic” encounter is one which situates the experience of rhythm as the experience of the originary dimension of temporality and of the human’s relationship to the world. Turning to Nietzsche, this paper seeks to complicate Agamben’s picture by discussing Nietzsche’s under-discussed explorations of rhythm and its connection to art. Three distinct rhythms will be identified: Apollonian, Dionysian, and the tragic or joyful rhythms of the Apollo-Dionysus relation. Reading Agamben through Nietzsche, it will be discussed how Agamben’s notion of rhythm blends Apollonian and Dionysian elements; does not through this blending however offer a tragic or joyful notion of rhythm, which, for Nietzsche, follows from their double affirmative rhythmisation. Instead of a rhythmic-poietic encounter opening an originary and authentic experience of temporality and dwelling, Nietzsche offers an account of tragic and joyful rhythms which continually create new worlds.

In Taking Care of Youth and the Generations, Bernard Stiegler develops an account of the pedagogical responsibilities which follow from rhythmic intergenerational flows, involving the creation of milieus which care for and pay attention to the future, toward the creation of nootechnical milieus. Such milieus are defined by their objects of attention: intellectual life, spiritual life, and political life; taken together: noetic life. Such is the claim Alfred North Whitehead makes when arguing that the sole object of education is life and the creation of an art of life which is itself a rhythmic adventure.The purpose of this paper is three-fold. First, to clarify the importance of Stiegler’s reading of Aristotle’s notion of the noetic soul in our thinking about the role, purpose, and function of educational institutions in relation to intellective, spiritual, and political life. In this paper, I will fuse this discussion with a Whiteheadian approach to rhythm, developing what I call a ‘rhythmic nootechnics’ in the service of ‘nootechnical evolution’ as, I argue, Whitehead’s approach to rhythm allows to clarify and enrich Stiegler’s reading of Aristotle. Second, and as indicated, to explore the relationship between Whitehead and Stiegler, insofar as the former has become an increasing reference point for the latter, but this relationship remains unexplored in the literature. Third, to apply this concept of ‘rhythmic nootechnics’ to think about what transformations at the level of pedagogy and politics are necessary to reinvent the university from this Stieglerian and Whiteheadian perspective.