Engaging the whole body of Deleuze's work, including less rehearsed texts such as The Actual and the Virtual, Lucretius and the Simulacrum and his lectures on Spinoza, Hanjo Berressem traces the 'line of light' that runs through Deleuze's thought.

The concept of difference occupies a central place in the philosophy of Gilles Deleuze. In this work, David Bright explores how Deleuze’s difference can be put to work in critical qualitative research. The book explores research and writing as a creative process of dynamically pursuing problems. Following Deleuze’s advice not to think of problems in terms of solutions, the book offers important methodological insights into the ways the subjects, objects, and processes of research might be conceived and represented in writing, exploring the problem of thinking and writing about difference in complex ways without reducing thought to static representations of identity. Bright uses the example of foreign teachers and international schooling in Vietnam to show us how Deleuze’s difference can be used in critical qualitative research, demonstrating the limits of traditional ways of thinking about difference in learning and teaching. Exploring Deleuze's Philosophy of Difference is a book that will interest all those with an interest in the application of Deleuze’s philosophy to critical qualitative research. Perfect for courses such as: Critical Qualitative Research | Qualitative Inquiry | Post-qualitative Inquiry | Deleuze | Difference | Identity | Ethnography | English Language Teaching | International Education | Writing as a Method of Inquiry

Storied Deserts makes a crucial and critical intervention in the field of environmental humanities by showcasing an emerging body of research on desert places from around the world. Deserts, despite dominant stereotypes of wasteland and barrenness, are culturally and ecologically abundant places. This edited volume sets out to reimagine the world’s desert places and the very concept of "the desert" itself, taking a boldly interdisciplinary and multicultural approach. Authors engage in literary ecocriticism and ecopoetics, film and visual studies, critical theory, personal and transdisciplinary reflection, creative practices, and historical scholarship. Through their diverse range of perspectives, contributors show how arid lands have been and can be understood as sites of narrative production, places where signs and imaginaries are born from the materialities of space and entanglement. In this way, this volume highlights how the storied matter of the Earth’s deserts informs lived realities, environmental histories, cinematic and literary imaginaries, political conflicts, and even intellectual categories such as "the human" and "the elemental". Ultimately, this book shows that reimagining desert places can help us to grapple with the epochal challenges of the Anthropocene. It is an important and engaging collection for scholars and students across disciplines that helps establish the value of desert humanities.

Called by many France's foremost philosopher, Gilles Deleuze is one of the leading thinkers in the Western World. His acclaimed works and celebrated collaborations with Félix Guattari have established him as a seminal figure in the fields of literary criticism and philosophy. The long-awaited publication of What Is Philosophy? in English marks the culmination of Deleuze's career. Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as means of confronting chaos, and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate the book, along with engaging discussions of composers, painters, writers, and architects. A milestone in Deleuze's collaboration with Guattari, What Is Philosophy? brings a new perspective to Deleuze's studies of cinema, painting, and music, while setting a brilliant capstone upon his work.

The essays within this collection explore the possibilities and potentialities of all three positions, presenting encounters that are, at times contradictory, at other times supportive, as well as complementary. The collection thereby enriches the questions that are being raised within contemporary cinematic studies.

The French philosopher Gilles Deleuze was one of the most innovative and revolutionary thinkers of the twentieth century. Author of more than twenty books on literature, music, and the visual arts, Deleuze published the first volume of his two-volume study of film, Cinema 1: The Movement-Image, in 1983 and the second volume, Cinema 2: The Time-Image, in 1985. Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, and cultural studies scholars still grapple today with how they can most productively incorporate Deleuze's thought. The first new collection of critical studies on Deleuze's cinema writings in nearly a decade, Afterimages of Gilles Deleuze's Film Philosophy provides original essays that evaluate the continuing significance of Deleuze's film theories, accounting systematically for the ways in which they have influenced the investigation of contemporary visual culture and offering new directions for research. Contributors: Raymond Bellour, Centre Nationale de Recherches Scientifiques; Ronald Bogue, U of Georgia; Giuliana Bruno, Harvard U; Ian Buchanan, Cardiff U; James K. Chandler, U of Chicago; Tom Conley, Harvard U; Amy Herzog, CUNY; András Bálint Kovács, Eötvös Loránd U; Patricia MacCormack, Anglia Ruskin U; Timothy Murray, Cornell U; Dorothea Olkowski, U of Colorado; John Rajchman, Columbia U; Marie-Claire Ropars-Wuilleumier, U Paris VIII; Garrett Stewart, U of Iowa; Damian Sutton, Glasgow School of Art; Melinda Szaloky, UC Santa Barbara.

Driven by the Foucauldian attitude of subsuming architectural history into a genealogy of techne, Architectures of Life and Death advances a transdisciplinary approach rethinking subjectivity and exploring the political ramifications of these processes for the discipline of architecture and beyond. In contrast to mainstream approaches, architecture will not be seen as representative of culture, but as the mechanism of culture, the ‘collective equipment’ that rests on the reciprocal determination of social habits and technological habitats. In this sense, the idea that we shape our environments, therefore they shape us, is not to be taken as a metaphor. The animate has always been utterly dependent on the inanimate. A livable habitat is one which the inhabitant actively co-evolves with and which does not constitute a ready-made condition to which the inhabitant would simply have to passively adapt.

An investigation of the “occurrent arts” through the concepts of the “semblance” and “lived abstraction.” Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In Semblance and Event, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of “semblance” as a way to approach this question. It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: “lived abstraction.” A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented—variously known as interactive art, ephemeral art, performance art, art intervention—which he refers to collectively as the “occurrent arts.” Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension.

Deep Refrains is a wide-ranging investigation of the philosophy of music. Michael Gallope asks what it means for music to "speak” when it is not saying anything in particular. To answer this question, he turns to the writings of some of the most revered thinkers of the twentieth century--Ernst Bloch, Theodor Adorno, Vladimir Jank�l�vitch, Gilles Deleuze, and F�lix Guattari. For these theorists, Gallope argues, the paradox that music is both ineffable and yet harbors deep philosophical wisdoms is fertile ground for thinking outside of conceptual boundaries. It provides the lens for a utopian potentiality that inspires hope (Bloch), an ethical critique of modernity (Adorno), an exemplification of the ephemeral movement of lived time (Jank�l�vitch), and a sonic extension of the syncopated, contrapuntal rhythms of sense and social life (Deleuze and Guattari). Gallope argues that a philosophical engagement with music’s ineffability rarely calls for silence or declarations of the unspeakable. Rather, it asks us to think through the ways in which the impact of music is made to address complex philosophical problems specific to the modern world.