Crystals and Membranes: Individuation and Temporality

Sauvanargues, Anne; Roffe, Jon

doi:10.3366/edinburgh/9780748677214.003.0004

Cited by 13 publications

(22 citation statements)

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“…For Simondon, being is ‘more than a unity and more than an identity’; he claims that a process of individuation starts ‘from a pre-individual reality that sub-tends it’ and, therefore, ‘the perfect individual, fully individuated, substantial, impoverished and empty of its potential’ is nothing more than an abstraction (Simondon, 1964: 126, English translation by Mills, 2016: 50). ‘ In reality, the unitary individual does not exist; there are only multiple processes of individuation ’ (Sauvanargues, 2012: 63—64, emphasis added).…”

Section: What Is the Neolithic?mentioning

confidence: 99%

Why the Neolithic is (r)evolutionary

Catapoti

Relaki

2020

Journal of Material Culture

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In this article, the authors use the question of whether the Neolithic should be maintained as an analytic category to argue that such a paradigmatic view of history is possible and useful only when we drastically redefine the role that technics play in archaeological narratives of the past. Using Simondon’s and Leroi-Gourhan’s theories of technology, they argue that analysis should move away from categorizations based on concrete objects and instead frame itself through the exploration of technical ensembles. They suggest that the operational solidarity of pottery-, bread- and mudbrick-making constructs the Neolithic as a technical interface in which a complex network of synergies and radial properties is played out, allowing the mapping of the Neolithic, not by object appearances and/or densities, but by points of convergence between technical regimes that redefine the modes of being in the world by providing the conditions under which new ‘objects’ become possible.

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Section: What Is the Neolithic?mentioning

confidence: 99%

Why the Neolithic is (r)evolutionary

Catapoti

Relaki

2020

Journal of Material Culture

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“…To understand his conception of individuation, Anne Sauvagnargues explains, it is therefore necessary to 'pass from an ontology of being to an ontology of becoming'. 14 Or as Miguel de Bestegui writes: "[t]he shift, then, is from beings as things to being as event". 15 On his very first page, it seems that Poulet is making exactly this shift, but eventually he moves to a more classical (dualist) phenomenology in which the individual consciousness is mediating its relation to an external world.…”

Section: Phenomenology and Spiritual Materialism: Poulet And Poementioning

confidence: 99%

Twenty-First Century Baudelaire? Affectivity and Ecology in “Le Crépuscule du soir”

Lübecker¹

2020

Modernism/modernity

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In the heated debates that followed the publication of Sur Racine (1960), Roland Barthes was accused of many sins, not least that of dehistoricising Racine. One of Barthes' responses was to dedramatise: 'We should not be surprised that a country should periodically review in this way the things which come down from its past and describe them anew in order to find out what it can do with them: such activities are and ought to be normal assessment procedures'. 1 This article takes its cue from Barthes' sentence and considers what we can do with Baudelaire today: how does Baudelaire's poetry speak to the present? Formulated in this manner, the question is likely to set off alarm bells. It seems reductive to look for something like the contemporary use value of Baudelaire, because it invites an instrumental approach to literature whose limitations have been pointed out by many -Baudelaire and Barthes included. Furthermore, this guiding question is politically suspect: the singular form of 'present' necessarily simplifies a much more complex set of circumstances, violently excluding many other relevant aspects of the contemporary situation(s). It is therefore appropriate to begin by setting out which particular version of the 'present' this article will be referring to.During the last fifteen to twenty years, a plethora of new theoretical approaches has emerged in literary studies as well as in the humanities and social sciences more widely. Labels such as 'affect theory', 'new materialism', 'objectoriented ontology', 'animal studies', 'ecocriticism', 'post-humanism', 'cyborg theory' and 'speculative realism' have been coined. Even if this proliferation of labels also testifies to well-known logics of fashion and the marketable, it is difficult to deny that

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“…Individuals should be viewed as temporary and partial mediations of the preindividual situation, who then play their part in future processes of individuation. In this manner we move from 'an ontology of being to an ontology of becoming'; 38 from 'beings as things to being as event'. 39 When Mallarmé engages with the place and instrument he calls 'le Livre', we witness an exchange between universe, book and writer/reader that brings to mind Simondon's writings on technicity and individuation.…”

Section: éDitions Du Seuil 2005)mentioning

confidence: 99%

Mallarmé’s Instruments: The Production of the Individu-Livre

Lübecker

2019

French Studies

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The teleology of the universe is directed towards the production of beauty. 1 Ainsi, l'oeuvre esthétique fait bourgeonner l'univers, le prolonge, constituant un réseau d'oeuvres, c'est-à-dire de réalités d'exception, rayonnantes, de points-clefs d'un univers à la fois humain et naturel. 2 Instrumental Poetry?In the humanities, the word 'instrument', and related terms such as 'instrumentality' and 'instrumentalization', generally come with a host of negative associations, quickly leading towards ideas about reification and alienation. In literary studies, having an instrumental approach to literature and language is associated with treating language transitorily, overlooking -at your own peril, as deconstructive and psychoanalytic readers have repeatedly shown us -that language contains an excess; that it speaks us, as much as we speak it. Instrumentality is linked to dogmatic politics and conceptual naïveté -occasionally Jean-Paul Sartre's Qu'est-ce que la littérature? and its famous assertion that 'la fonction d'un écrivain est d'appeler un chat un chat' are given the dubious honor of illustrating this. 3 On the other hand, it is commonly accepted that Mallarmé represents the antithesis of this simplistic

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Crystals and Membranes: Individuation and Temporality

Cited by 13 publications

References 0 publications

Why the Neolithic is (r)evolutionary

Why the Neolithic is (r)evolutionary

Twenty-First Century Baudelaire? Affectivity and Ecology in “Le Crépuscule du soir”

Mallarmé’s Instruments: The Production of the Individu-Livre

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