Philopoesis: A Theoretico-Methodological Manifesto

Go west, go east: War’s exilic subjects

“…The second is Cesare Casarino’s equivalent concept, articulated in his treatment of the ‘interference’ between philosophy and literature. Casarino (2002a: 86) asserts that thinking becomes possible when the interference between genres opens up ‘emergent potentialities that disrupt the status quo of the history of forms’. He takes the concept of interference from Deleuze’s (1989: 280) suggestion that the thinking produced in cinema results from the way in which philosophy interferes with the cinematic text, the way ‘philosophical theory’, as a practice of concepts, engages cinema, a practice of ‘images and signs’, to produce critical thinking.…”

“…He takes the concept of interference from Deleuze’s (1989: 280) suggestion that the thinking produced in cinema results from the way in which philosophy interferes with the cinematic text, the way ‘philosophical theory’, as a practice of concepts, engages cinema, a practice of ‘images and signs’, to produce critical thinking. Applying Deleuze’s idea of the engagement between philosophy and cinema to the philosophy–literature engagement, Casarino delivers a methodological manifesto under the rubric ‘philopoesis’, which he states ‘names a certain discontinuous and refractive interference between philosophy and literature’ (Casarino, 2002a: 86). That ‘interference’ is one between an ‘art of forming, inventing, and fabricating concepts’ (philosophy) and an art constituted as the production of a ‘bloc of sensations … a compound of percepts and affects’ (literature) (Casarino, 2002a: 67).…”

“…Applying Deleuze’s idea of the engagement between philosophy and cinema to the philosophy–literature engagement, Casarino delivers a methodological manifesto under the rubric ‘philopoesis’, which he states ‘names a certain discontinuous and refractive interference between philosophy and literature’ (Casarino, 2002a: 86). That ‘interference’ is one between an ‘art of forming, inventing, and fabricating concepts’ (philosophy) and an art constituted as the production of a ‘bloc of sensations … a compound of percepts and affects’ (literature) (Casarino, 2002a: 67). In a more hyperbolic statement, Casarino suggests that the political force (or, perhaps better, the meta-political force) of philopoesis derives from the interference between philosophy and literature because: ‘in questioning each other, philosophy and literature put the whole world into question’ (Casarino, 2002b: xxv).…”

Meditations on the Sacrificial Egg

“…For a detailed treatment of philopoesis, seeCasarino (2002). Also seeElza (2011).7 SeeDer Derian James (1987).…”

The Presence of War: “Here and Elsewhere”1

“…12 12 The concept of interference I use here is inspired by Caesare Casarino’s analysis of the way philosophical concepts illuminate artistic text by interfering with them. See Casarino (2002:86). …”