Jae-Yin Kim

Abstract first and 국문초록은 뒤에

Deleuze and Guattari’s first co-authored work was a 1970 paper called “Disjunctive Synthesis”. It is said to be an abridged version of their forthcoming ‘Capitalism and Schizophrenia’, referring to Pierre Klossowski’s recent work. This paper is a draft of the rationale for Anti-Oedipus. Interestingly, however, there are no studies that address the relationship between the “Disjunctive Synthesis” and Anti-Oedipus. “Disjunctive Synthesis” is very helpful in that it unravels and clarifies the ambiguity of Anti-Oedipus. Furthermore, the paper shows Deleuze and Guattari’s initial problem with Anti-Oedipus, concerning the unconscious. In particular, the rupture that separates Anti-Oedipus from The Logic of Sense is identified. I have followed the “Disjunctive synthesis” in order to clarify the problem that the paper is trying to solve, and to show the points that correspond to the “paths” and “bridges” of how this problem develops later in Anti-Oedipus. I have particularly focused on elucidating the inclusive, illimitative, and affirmative usages of the “disjunctive synthesis” in the synthesis of the unconscious.

들뢰즈와 과타리의 첫 공동 저술은 1970년에 발표한 ｢분리 종합｣(“La Synthese Disjontive”)이라는 논문이다. 그것은 피에르 클로솝스키(Pierre Klossowski)를 준거로 삼아, 조만간 출판될 ‘자본주의와 분열증’의 축약본이라고 언급된다. 이 논문은 󰡔안티 오이디푸스󰡕의 이론적 근거의 초안이다. 그런데 흥미롭게도 ｢분리 종합｣과 󰡔안티 오이디푸스󰡕의 관계를 다룬 연구는 어디에도 없다. ｢분리 종합｣은 󰡔안티 오이디푸스󰡕의 모호함을 풀어주고 해명한다는 점에서 큰 도움이 된다. 또한 논문은 󰡔안티 오이디푸스󰡕를 둘러싼, 무의식에 관한 들뢰즈와 과타리의 최초의 문제를 명료하게 보여준다. 특히 󰡔의미와 논리󰡕와 차별되는 단절이 확인된다. 나는 ｢분리 종합｣을 따라가면서 이 논문이 풀려고 하는 문제를 명료하게 드러내고, 이 문제가 나중에 󰡔안티 오이디푸스󰡕에서 어떻게 발전하게 되는지 ‘길’과 ‘다리’에 해당하는 지점을 짚어 보았다. 특히 무의식의 종합 중 ‘분리 종합’의 포괄적·비제한적·긍정적 용법을 해명하는 데 집중했다. 먼저 󰡔의미의 논리󰡕에서 ‘분리 종합’ 개념이 어떻게 이해되고 있는지 밝혔다. 다음으로 ｢분리 종합｣의 ‘문제’를 정리했다. 이어 ｢분리 종합｣에서 ‘분리 종합’ 개념이 어떻게 달라지는지 논하고, 끝으로 이 개념이 󰡔안티 오이디푸스󰡕에서 어떻게 확대되는지 간단히 살폈다.

Divided communities and digital tribes
뒷쪽에 한글 초록
Kim, Jae-Yin (Kyung Hee University)

The fundamental question surrounding the community is where do I feel I belong. Today the ‘community’ is extremely divided, and the cause needs to be ascertained. It is necessary to pay attention to the concept of ‘dividual’ in Deleuze’s ‘societies of control’. Dividuals are created when surfing the Internet using IDs and passwords. The pre-modern community was established on territorial contiguity, and the modern community could be unified on the ground based on the belief that people felt one through common language and mass media. However, as we enter today’s hyper-connected network society, a postmodern community or a divided community has become visible. Social media is at the heart of such kind of society. Unlike the one-to-many vertical ways of transmission of mass media, social media connects many-to-many horizontally. In this process, regardless of spatial proximity, connections by electronic devices and subsequent divisions occur. Humans are connected, but at the same time dispersed and divided. In this way, a digital tribe of dividuals is formed. Individuals become dividuals and communities are divided. In general, people are pessimistic about this situation. However, if the individual is a product formed due to the needs of modern capitalism, dividuals also have the possibility of being a starting point for a new human. The touchstone would be how to play the roles of a dividual. Key Words : feeling of belonging, dividual, division, social media, digital tribe.



초록PDF나는 어디에 소속되어 있다고 느끼고 있는가? 이것이 공동체를 둘러싼 근본 물음이다. 오늘날 ‘공동체’는 극심한 분열상을 보인다. 원인은 무엇일까? 들뢰즈가 말한 ‘제어 사회’에서의 ‘가분자(可分者)’ 개념에 주목할 필요가 있다. 가분자는 아이디와 패스워드로 인터넷을 서핑할 때 생겨난다. 전근대 공동체는 영토적 인접성을 중심으로 형성되었고, 근대 공동체는 공통 언어와 대중매체를 통해 하나라는 믿음으로 결속할 수 있었다. 그런데 오늘날 초연결 네트워크 사회에 진입하면서 탈근대 공동체, 혹은 분열의 공동체가 가시화되었다. 그 중심에 소셜미디어가 있다. 대중매체의 일대다 수직적 발신과 달리 소셜미디어는 다대다로 수평으로 연결한다. 이 과정에서 공간적 인접과 상관없이 전자 기기에 의한 연결과 그에 따른 분열이 생겨난다. 인간은 연결되지만 동시에 분산되고 분열한다. 이렇게 해서 가분자들의 디지털 부족이 형성된다. 개인은 가분자가 되고 공동체는 분열된다. 대체로 이 상황을 사람들은 비관적으로 진단한다. 하지만 개인이 근대 자본주의의 필요 때문에 형성된 산물이라면, 가분자는 새로운 인간상의 출발점이 될 가능성도 내포하고 있다. 분열된 가분자를 어떻게 연기해 내느냐가 시금석이 될 것이다.

국문은 영문 뒤에
A key player in Deleuze and Guattari’s “Geology of Morals” is Louis Hjelmslev, the “Danish Spinozist geologist”. Deleuze and Guattari state that he was interested in language, but more importantly, in extracting ‘stratification’ from language. Deleuze and Guattari’s strategy was to construct a ‘science of strata’, that is, ‘geology’, based on Jelmslev’s linguistics.
The concepts of strata, stratification, and plane in the 3rd Plateau, all came from Hjelmslev. Therefore, it is meaningful enough to examine what these concepts meant to Hjelmslev himself and how Deleuze and Guattari appropriated them.
Hjelmslev’s concept of ‘sign function’ is elabrated into ‘(abstract) machine’ via ‘semiotic machine’ in Deleuze and Guatari. “Geology of Morals” deals with three large strata, namely, the ‘physico-chemical strata’, ‘organic strata’, and ‘semiotic-social strata’, and what penetrates these three is the operation of the ‘machine’, that is, stratification. The present paper provides an important analytic tool for subsequent researches to understand how the machine functionsdifferently in each strata.
Hjelmslev’s linguistic analysis reveals the logic of language ‘production’ and ultimately leads us to a general theory of semiotics that goes far beyond the signification. Deleuze and Guattari elevate semiotic theory to the key principle of everything that becomes. This is the principle that explains infinite number of cosmic becomings from minimal elements. It is the lessons Deleuze and Guattari found from Hjelmslev.

들뢰즈와 과타리의 도덕의 지질학 에서 중요한 역할을 하는 건 “덴마크의 스피노자주의자 지질학자” 옐름슬레우(Louis Hjelmslev)다. 들뢰즈와 과타리는 그가언어활동에도 관심이 있었지만, 더 중요한 건 언어활동에서 ‘지층화’를 뽑아내는일이었다고 진술한다. 요컨대 들뢰즈와 과타리의 전략은 옐름슬레우의 언어학을바탕으로 ‘지층의 과학’, 즉 ‘지질학’을 구성하는 일이었다.
이 고원에 등장하는 지층, 지층화, 평면 등의 개념은 모두 옐름슬레우한테서 왔다. 따라서 이들 개념이 옐름슬레우 본인한테는 어떤 의미였고 들뢰즈와 과타리가 어떻게 전유했는지 살피는 일은 충분히 의미 있는 작업이다.
옐름슬레우의 ‘기호 함수’ 개념은 들뢰즈와 과타리한테서 ‘기호 기계’를 거쳐 ‘(추상적인) 기계’로 가공된다. 도덕의 지질학 은 3개의 거대 지층, 즉 ‘물리-화학지층’, ‘유기체 지층’, ‘기호-사회 지층’을 다루는데, 이 셋을 관통하는 것이 ‘기계’의 작동 즉 지층화다. 따라서 후속 연구에서 각 지층에서 기계가 어떻게 다르게 작동하는지 파악할 수 있는 중요한 분석 도구를 마련했다.
옐름슬레우의 언어 분석은 언어 ‘생산’의 논리를 알게 해주며, 궁극적으로는 의미론의 영역을 훨씬 넘어서는 일반 기호 이론으로 인도한다. 들뢰즈와 과타리는 기호 이론을 존재하는 모든 것의 작동 원리로 격상시킨다. 최소의 요소들로부터 우주 속 무한한 생성을 설명하는 원리, 들뢰즈와 과타리가 옐름슬레우한테서 찾아낸 교훈이 그것이다.

A New Liberal Arts: A Path to Korean Humanities in the New Normal Era
This study takes into consideration on the (1) “New Normal Era” meaning the upheaval or at least 3-fold crisis involving abuse of advanced technologies such as AI and biotechnology, COVID-19 pandemic, and climate crisis 2) new standing of South Korea as an “Advanced Country” in aspects of hard power covering economy, technology, and military fields and soft power covering culture and arts, and attractiveness. This study suggests “A New Liberal Arts” renewed and expanded and from the conventional humanities described by the literature, history, and philosophy to break through “Crisis of Humanities” and seek “Learning and Education Methods” suitable for the era.
The previous researches on the humanities policy set the current situation of the humanities as “crisis” and claimed that such crisis happened because the humanities failed in actively adapting to the external conditions (industrial technology development, new liberal globalization, etc.) while also failing in opening and convergence due to the internal conditions (failure in comprehensive and interdisciplinary thoughts, disconnection from traditional studies, specialization and alienation, etc.). While this study referred to the previous researches, this study took the different approach, regarded “Crisis” as “Change”, and suggested the concepts of new humanities as “A New Liberal Arts”. The new liberal arts are the integration of new humanities concepts which sets process of historical changes in traditional humanities concepts, changes in humanities ecosystem from rapid development of technology and society, changes in curriculum and educational contents at middle school, high school, and colleges, and expectations and demands toward the humanities by businesses and civil society as “Reality” instead of taking the traditional framework of literature, history, and philosophy. The new liberal arts are expected to fulfill their roles as an education system for fostering the fundamental competencies in not only language, literature, history, and philosophy but also mathematics, natural science, social science, and arts. Its core is that it has expanded its language beyond natural language to a language that reads nature and art.
This study derived numbers of significant results based on literature studies, factual survey, expert advice, and student survey. First, the level of satisfaction and demand for the college-level humanities and liberal arts courses which cover the actual contents of the new liberal arts. This proved that “Crisis of Humanities” is not associated with lower preference over the humanities. Instead, the crisis is caused because the college courses lack reproduction of humanities in the next generations. Secondly, this study divided the humanities ecosystem factors into (1) researcher (2) educator (3) student (4) citizen to break away from the professor-oriented views and discussions and come up with new analysis approaches. This showed that the next generation is the crucial in maintaining and developing the humanities ecosystem. Furthermore, the educational contents required by the businesses and society to colleges are associated with meta-skills, learning competencies, and relationship competencies instead of major-related skills which were important in 20th century. This supports the demands on changing the undergraduate curriculum to a new liberal arts and enables changing the educational directions for middle school and high school(integration of humanities and natural science departments), and graduate school (major skills). The new liberal arts are the best strategy that inherits the tradition of fostering human, citizen, and talents while fostering the future generation capable of the convergence.
Humanities are not the trans-historical concept and they have been changing continuously along the demands of the time. While specialized departments have to be further specialized, educating the humanities at the same time and putting the basis of expertise on the broader joint foundational competencies would be leading the era.

Keyword_  New Normal, Humanities, Crisis of Humanities, A New Liberal Arts, Korean Humanities


본 연구는 (1) 코로나19 감염병 대유행, 기후위기, 인공지능과 생명공학 등 첨단기술의 오남용이라는 최소 3중 위기 혹은 대격변을 뜻하는 ‘뉴노멀 시대’와 (2) 경제, 기술, 군사 등 하드파워(hard power)는 물론 문화예술, 매력도 등 소프트파워(soft power) 양 측면에서 이미 ‘선진국’에 올라선 대한민국의 새로운 위상을 고려하여, 흔히 문사철(文史哲)로 표현되는 전통 인문학을 갱신하여 확장된 인문학으로서 뉴리버럴아츠(A New Liberal Arts) 인문학을 제안함으로써, ‘인문학의 위기’를 돌파함은 물론 시대에 적합한 ‘학문과 교육 방안’을 모색했다.
기존의 인문학 관련 정책 연구들은 인문학이 처한 상황을 ‘위기’로 설정하고, 이러한 위기는 외적 조건(산업기술의 발달, 신자유주의 세계화 등)에 적극적으로 부응하지 못한 한계와 내적 조건(통합적ㆍ학제적 사고의 실패, 전통 학문과의 단절, 전문화와 폐쇄성 등)에 의해 개방과 융합에 성공하지 못했기 때문이라 진단한다. 본 연구는 선행연구를 충분히 참조하면서도 관점을 달리하여, ‘위기’를 하나의 ‘변화’로 인식하고 이에 부응하는 ‘뉴리버럴아츠’로서의 새로운 인문학 개념을 제안했다. 이는 전통적 문사철의 틀 대신, 전통 인문학 개념의 역사적 변화과정, 기술과 사회의 비약적 발전에 따른 인문학 생태계의 변화, 중고등학교 및 대학 현장에서 커리큘럼과 교육내용의 변천, 기업 현장과 시민사회에서 인문학에 대한 기대와 요구 등을 ‘현실’로 삼는 인문학의 새로운 개념을 종합한 결과다. 언어, 문학, 역사, 철학 외에도 수학, 자연과학, 사회과학, 예술의 기초 역량을 키워주는 교육 체계로서 뉴리버럴아츠 인문학은 제 역할을 충실히 해낼 것으로 기대된다. 그 핵심은 언어(文)를 자연어를 넘어 자연과 예술을 읽는 언어로까지 확장했다는 데서 찾을 수 있다.
문헌 연구, 실태 조사, 전문가 자문, 학생 설문 조사 등을 통해 본 연구는 몇 가지 유의미한 결과를 도출해 낼 수 있었다. 먼저, 뉴리버럴아츠 인문학의 실제 내용이라 할 대학의 교양수업과 시민 인문학 강좌에 대한 만족도와 수요가 높게 나왔다. 이는 ‘인문학의 위기’가 인문학에 대한 선호의 감소에서 비롯한 것이 아니라 대학에서 학문후속세대의 재생산이 이루어지지 않고 있는 데서 기인한다는 점을 확인시켜 주었다. 다음으로, 인문학 생태계를 구성하는 인자를 (1)연구자, (2)교육자, (3)학생, (4)시민으로 세분함으로써, 종래 대학교수 중심의 관점과 담론을 탈피하고 새로운 분석의 시야를 제공했다. 이 과정에서 인문학 생태계의 유지와 발전을 위해 학문후속세대가 결정적으로 중요하다는 점을 확인할 수 있었다. 또한 기업과 사회가 대학에 요구하는 교육 내용은 20세기의 유물인 전공 능력이라기보다 메타스킬(meta-skill), 학습 역량, 관계 역량 같은 것임을 확인할 수 있었다. 이는 학부 교육과정이 뉴리버럴아츠 인문학으로 바뀌어야 한다는 시대적 요구를 뒷받침하며, 중고등학교(문이과 폐지)와 대학원 교육(전공 능력)의 변화 방향도 설계할 수 있게 해주었다. 뉴리버럴아츠 인문학은 인간, 시민, 인재를 길러낸다는 전통을 계승하면서도 융복합 실천이 가능한 미래 세대를 육성하는 최선의 전략이다.
인문학은 초역사적 개념이 아니며 시대의 요구에 따라 끝없이 변신해왔다. 전문 분과들은 더 전문적인 쪽으로 발전해야 마땅하지만, 그와 동시에 뉴리버럴아츠 인문학을 교육함으로써 전문성의 토대를 확장된 공통 기초 역량 위에 두는 것은 시대를 선도하는 일이 될 것이다.

핵심어_ 뉴노멀, 인문학, 인문학 위기, 뉴리버럴아츠, 한국인문학

Reconsidering the Concept of Creativity in the Age of Artificial Intelligence

With the rapid development of artificial intelligence technology, the question arises whether artificial intelligence can be the subject of artistic creation. This leads us to re-examine the essence of creativity. Through the work of paleontology, anthropology, psychology and pedagogy, it was confirmed that human beings were able to be constituted and survive based on the ability to ‘creative collaboration’. Creativity is best expressed when society secures a high degree of freedom, and free and daring experiments are carried out individually and collectively. Even in education of creativity, it is necessary to focus on society rather than on the individual.

인공지능 기술이 빠른 속도로 발전하면서, 인공지능이 예술 창작의 주체일 수 있느냐는 물음이 제기된다. 이는 창의성의 본질을 다시 묻도록 유도한다. 고생물학ㆍ인류학ㆍ심리학ㆍ교육학의 작업을 통해, 인간은 ‘창의적 협력’ 능력을 바탕으로 성립하고 존속할 수 있었다는 점이 확인되었다. 창의성은 사회가 높은 자유도(自由度)를 확보하고, 그 안에서 개별로 또 집단으로 자유롭고 과감한 실험이 이루어질 때 가장 잘 발현된다. 창의성 교육에서도, 개인에 초점을 맞출 것이 아니라 사회에 집중할 필요가 있다.

(국문초록은 영문 뒤에 있음)
The Role of André Leroi-Gourhan’s Gesture and Speech in the Philosophy of Deleuze and Guattari

André Leroi-Gourhan’s Gesture and Speech, which greatly influenced Deleuze and Guattari’s Capitalism and Schizophrenia series, explains the unique human characteristics by arguing that, in contrast with the common notions, the evolution of feet, not that of brain, plays an essential role in being humanity. Erect posture and upright walking were the starting points for the formation of Homo sapiens’ brain, and at the same time as the development of the brain, the paws were transformed into hands and snout into mouth. The liberated hands allowed to make tools and to use techniques, and the liberated face permitted to use the symbolism and enabled language. The evolution of the hands and face was biologically based on the
development of the brain’s memory capacity. Furthermore, the ability to organize rhythm by using symbols made art and aesthetics possible. The influence of Leroi-Gourhan on the philosophy of Deleuze and Guattari can be summarized in four ways. First, human and nature are not the two opposing terms, but rather an inseparable unity. Second, humans should not be understood from the point of view of individuals but of the technical and social levels that determine individuals, and further of the layers of biological evolution and ecosystems. Third, humans are not beyond nature and are just a particular expression of nature. Fourth, the abstract nature of primitive art is a testament to the brain’s capacity to use symbols.

국문초록

  들뢰즈와 과타리의 ‘자본주의와 분열증’ 연작(1권: 안티 오이디푸스, 2권: 천 개의 고원)에 큰 영향을 준 앙드레 르루아구랑의 『손놀림과 말』(1권: 기술과 언어활동, 2권: 기억과 리듬)은 통설과는 반대로 ‘뇌’가 아니라 ‘발’의 진화를 통해 인간의 고유한 특질을 설명한다. 곧게 선 자세와 직립보행이 호모 사피엔스의 뇌를 형성한 출발점이었으며, 뇌의 발달 과정과 동시에 앞발은 손으로 주둥이는 입으로 변모했다. 해방된 손은 도구를 제작하고 기술을 구사할 수 있게 했으며, 해방된 얼굴은 상징체계를 이용하고 언어활동을 가능하게 했다. 손과 얼굴의 진화는 생물학적으로 뇌의 기억 능력의 발전에 기반했지만, 인간의 경우 사회적인 집단 기억의 축적을 통해 생물 진화의 속도를 한참 능가하는 기술적·사회적 진화를 낳았다. 나아가 상징을 활용해서 리듬을 조직하는 능력은 예술과 미학을 가능케 했다.
  르루아구랑이 들뢰즈와 과타리의 철학에 미친 영향은 다음 4가지로 요약할 수 있다. 첫째, 인간과 자연은 서로 대립하는 두 항이 아니라 서로 분리 불가능한 통일체다(『안티 오이디푸스』의 ‘자연과 인간의 통일’ 논제). 둘째, 인간은 개인에서 출발해서 이해하면 안 되고 개인을 규정하는 기술적·사회적 차원에서부터 이해해야 하며, 나아가 이를 유발한 생물 진화와 생태계의 층위에서부터 이해해야 한다(『안티 오이디푸스』의 ‘사회 기계’ 및 3장 ‘미개, 야만, 문명’ 구별). 셋째, 인간은 자연을 초월한 존재가 아니며, 자연의 특정한 표현이다(『천 개의 고원』 제3 고원 ‘도덕과 지질학’의 세 번째 거대 지층군). 넷째, 원시 예술의 추상적 성격은 뇌의 상징 활용 능력의 단적인 증거다(『천 개의 고원』 제14 고원 중 ‘미학 모델: 유목 예술’의 해명). 이런 영향 관계들은 더 깊게 연구될 필요가 있다.

국문초록은 영문초록 뒤에

In the mid-19th century, in the wake of the coercive opening of ports by imperialist powers, East-Asian countries like China, Japan, and Korea began to perceive that western sciences, technologies, and institutions were superior to their own. The most difficult aspect of interacting with western civilizations and cultures was the absence of the corresponding concepts and realities in East Asia, which could have facilitated the translation of the key concepts in these western cultures. For example, there was neither the concept nor the reality of ‘society’ or the ‘individual’ in East-Asian countries. Thus, new terms that could carry similar meanings were invented in these countries.
Their efforts to make ‘modern nations like West’ ultimately failed because of the differences between traditional Eastern and Western ways of life.
However, these failures were not necessarily negative, as the Western concepts of ‘society’ and the ‘individual’, which were inventions of the modern West, would eventually serve to facilitate the rise of bourgeois capitalists. Therefore, it is our task to create new concepts comprising alternative visions that can be used to break through the impasse caused by the West during modern times.


19세기 중엽, 중국, 일본, 한국 같은 동아시아 국가는 제국주의 열강에 의한 강제 개항의 여파로 서구의 학문, 기술, 제도의 우위를 인정해야만 했다. 서구 문물을 수용하는 과정에서 가장 어려운 일은 서구의 주요 개념을 번역할 수 있게 해줄 상응하는 개념과 현실이 없었다는 점이었다. 가령 동아시아 국가에는 ‘사회’와 ‘개인’이라는 개념도 현실도 없었다. 그래서 이들은 유사한 의미를 담을 수 있는 새로운 용어들을 발명하려고 노력했다. 서구와 같은 ‘근대 국가 만들 기’라는 노력은 결국 실패했는데, 이는 동서양 전통과 역사의 차이 때문이다. 하지만 ‘사회’와 ‘개인’이라는 개념이 실현되지 않았다는 것이 꼭 부정적이지만은 않다. 이들 서구 개념 역시도 근대 서구의 발명이며, 이는 궁극적으로 부르주아 자본가에게 도움이 될 뿐이다. 따라서 서구 근대 시기에 생겨난 궁지를 돌파하 려면 대안적 비전을 담은 ‘새로운’ 개념을 창조해야 할 것이다.

(한글 요약은 영문 뒤에)

Smooth Space vs. Striated Space: War-machine, or How to Construct Spaces?: Political Philosophy of Sapce in Deleuze

Jae-Yin Kim(Kyung Hee University)

According to Deleuze (& Guattari), space is not understood as abstract, homogeneous and a priori condition. Space should be classified into smooth and striated depending on the difference of their tendency in spite of their mixed mode of concrete existence. In the striated space, everything is organized in accordance with the established rules. By contrast, in the smooth, even the most organized can be liberated to the all-possible virtuality. Space of chess is like striated, while space of Go is like smooth. Even the meaning of ‘nomos’ is different from each other in the age of Homer (“distribute” in the smooth space) and in the classical age (“assign” in the striated space) as E. Laroche reported. Mission of war-machine is to make a smooth space. So role of war-machine is like that of artists or experimenters.

Main Scope: Political Philosophy, Ontology, Space

Key Words: Smooth Space, Striated Space, War-machine,
Laroche, Nomos, Nomad

【주제분류】정치철학, 존재론, 공간
【주제어】매끈한 공간, 홈 파인 공간, 전쟁기계, 라로슈, 노모스, 노마드
【요약문】들뢰즈(와 과타리)에 따르면 공간은 추상적, 등질적, 선험적 조건으로 이해되지 않는다. 공간은 실제로 혼합되어 존재할지라도, 경향성의 차이에 따라 매끈한 공간과 홈 파인 공간으로 분류되어야 한다. 홈 파인 공간에서는 모든 것이 기존 규칙에 따라 조직된다. 반면 매끈한 공간에서는 가장 조직화된 것조차도 가능성을 향해 해방될 수 있다. 장기의 공간은 홈 파인 공간이며, 바둑의 공간은 매끈한 공간이다. E. 라로슈의 연구에 따르면, 노모스의 의미도 호메로스 시대와 고전기 시대에 서로 달랐다. 호메로스 시대에 노모스는 매끈한 공간에서 ‘분배하기’를 뜻한 반면, 고전기에는 홈 파인 공간에서 ‘배당하기’를 뜻했다. 전쟁기계의 임무는 매끈한 공간을 만드는 일이다. 따라서 전쟁기계의 역할은 예술가나 실험가의 역할과 같다고 할 수 있다.

Philological research on Gilles Deleuze’s concept of “affect”: beyond Spinozist perspective

The meaning of Deleuze’s concept of “affect” differs in many texts. The first usage is from Nietzsche and Philosophy (1962), where affect means “a power [pouvoir] of being affected” or two qualities of “will to power” (becoming-active or becoming-reactive, affirmation or negation). The second is from Expressionism in Philosophy: Spinoza (1968), where it means “a power of being affected” or “a power [puissance] of acting” which is different from affection or image. Third is from texts produced between 1977-1980, especially from A Thousand Plateaus (1980), where it gains an additional meaning Umwelt as “functional cycle” with the help of ethologist Uexkull. In Movement-Image (1983), it means “affection-image” or “center of indetermination,” and in What is Philosophy? (1991), it means “non-organic life.” This essay introduces non-human conceptions of affect of Deleuze from different points of views.

Return to Baumgarten: An Attempt to revive the sensitive knowing


In Baumgarten, ‘aesthetics’ was first described as “knowing of aisthea (distinguished from the ‘sensual’)” (in Meditations); followed by “science of sensitivus knowing and presenting” (in Metaphysics); finally, it was defined as “science of sensitivus knowing” (in Aesthetics). Kant redefined ‘aesthetic’ in the context of epistemology or from the viewpoint of appreciator. In contrast, Baumgarten’s goal was to establish ‘aesthetic’ in relation to the activities of the creator or artist. The followings can be confirmed: 1) the concept of “sensibility (Sinnlichkeit)” does not appear in Baumgarten; 2) in the definition of aesthetics, the adjective “sensitivus” is used which is always distinct from “sensualis”; 3)“sensitivus” is used as an adjective in defining “aistheta”; and 4) aesthetics is defined as “science of sensitivus presentation.”

바움가르텐에서 ‘미학’은 최초에는 “(감각적인 것과는 구별되는) 아이스테타에 대한 앎”([성찰])으로, 다음에는 “sensitivus한 앎과 제시의 학”([형이상학])으로, 끝으로는 “sensitivus한 앎의 학”([미학])으로 정의되었다. 칸트는 Ästhetik을 인식론 또는 감상자 미학의 맥락에서 재규정했지만, 바움가르텐의 목표는 창작자 또는 예술가의 활동과 관련해서 Ästhetik을 정립하는 것이었다. 이러한 점은 1)
바움가르텐에게 “감성”이란 개념이 등장하지 않으며 2) 미학의 정의 속에 항상 “감각적인 것”(sensualis)과 분명히 구별되는 “sensitivus”라는 형용사가 사용되고, 3) sensitivus는 다시 “아이스테타”를 설명하는 형용사로 활용되며, 끝으로 무엇보다 4) 미학이 “sensitivus한 제시의 학”이라고도 규정된다는 점을 통해 확인된다.

Becoming-woman, n Sexes and the Politics of Becoming in Deleuze and Guattari
by Jae-Yin Kim (Seoul National University)
I will consider the problems of “becoming-woman” and the “politics of becoming.” In Deleuze, “becoming” means producing a bloc of molecular elements which are captured from two or more molar terms. We must consider “becoming in general,” where statistic and molar terms like “woman” and “man” are not helpful to grasp its real meaning. We should reach a “non-human sex” or “n sexes” beyond “the anthropomorphic representation of sex.” Thus “woman” also should be conceived not as a fixed state but as a process. “Animal” and “woman” can remain minor compared to “man,” the “majority” or standard. It
should be that even woman have to become-woman. In this way, we practice “molecular politics” so as to reach “molecular elements,” and we should view the universe as “the inconscious” and “sexuality” and “desire” as its immanent principle. Desire means the construction of a desirable assemblage, while established social orders will be jolted and
changed. The “politics of becoming” is the “politics of nonhuman desire.”

Keywords: feminism, becoming-woman, n sexes, politics of becoming, desire

Problem of Time in the Deleuzian Interpretation of Kant
by Kim, Jae-Yin

“On four poetic formulas which might summarize the Kantian philosophy” of G. Deleuze explicitly or implicitly refers Shakespeare. Section I’s hero is Hamlet. Time is out of joint, so it is liberated from extensive movement and becomes autonomous. In Section II, time as a form of interiority is also freed from intensive movement.  Time separates and links the determined (the self) and the determination (the I). Hamlet receives this determination. In Section III, Brutus practices the Good inferred from “you should!” which is pure imperative of the Law, but he eternally cannot reach the Good. The Good is what the Law says, but the judgement is deferred because of the linearity of the time. In Section IV, all senses or faculties are freely played, reaching a point of discordant accord. In the midst of The Tempest,  time is nascent.

Keywords:Deleuze, Kant, Shakespeare, time, Hamlet, Brutus, Tempest, King Lear

Theory of “partial object” in Gilles Deleuze
: In Search of its ontological and aesthetical meaning

Jae-Yin Kim


The concept of “partial object(objet partiel)” which plays an important role in Gilles Deleuze is originated from Melanie Klein, a famous psychoanalyst of children.
While Sigmund Freud conceives human development from the(diachronic) viewpoint of “stage” or “phase”, Klein does from the(synchronic) viewpoint of “position”. According to Klein, human goes from “paranoid-schizoid position” to “depressive position” or vice versa, which should be comprehended not as a step-by-step development but as a change of position between the two. A little child has a phantasy whose main function is projective identification or intorjection. In the first position, a little child separates good object from bad in order to love or hate it. This phantasy is necessary for a little weak child to survive. This position is called “schizoid” because one separates all objects each other and “paranoid” because one experiences all objects in delusions. In this position, all objects are “partial”, because they are either good or bad. The eminent example is mother’s breast. Little child is only interested in breast, not in whole mother, for her/his sole concern is direct satisfaction or not of her/his drive. But in the second position, little child realizes that “good” object and “bad” object is one and the same whole, so begins to integrate the partial objects into “a whole object”. Everything is absolutely not good nor bad. So this position is called “depressive”. But as mentioned above, according to Klein, the two positions are not developmental stages but two different positions which will also remain in adults.
Deleuze criticizes the Kleinian conception of “partial object”. First, partial object is not related with phantasy, but with real process of production as that of desiring-machine(machine désirante). Second, partial object is selected only apparently from whole person, but it is in reality produced in terms of the selection from a impersonal flux or hyle. In short, partial object is not anthropological but ontological entity. “Partial objects are molecular functions of the unconscious”. Partial object is produced from selection-cutting(coupure-prélèvement). Deleuze defines machine as “a system of cutting of flux”. Here cutting is not opposed to flux, but presupposes it. Cutting and flux are relative, for the former refers to peras or determination and the latter apeiron or the indeterminate. The product of cutting is partial object as object in general.
The concept of partial object has some important meaning both ontological and aesthetic. The plasticity or potentiality of material in the process of art-working reveals the nature of being in general. Being is becoming and transformation. A whole is always partial. The partiality of object encourages artistic or creative experimentation. There is no final fixed object but only partial object always ready to be transformed. This is the ultimate meaning of partial object in aesthetics and ontology.

Key Words
Gilles Deleuze, partial object, Melanie Klein, a whole, cutting, flux

Artist apprenticeship in Deleuze’s theory of art :
From the young Deleuze’s viewpoint on Proust

Jae-Yin Kim

G. Deleuze deals with the relation between art and  apprenticeship (learning) in his first edition of Proust and Signs. His main problem is to overcome “the rationalist-dogmatic image of thought”. He argues that knowing or knowledge should be conceived as a learning of the New, which is revealed in the creative work of artist. What matters is learning, which one can get through constraint and violence of signs. Learning is the work of artist itself in that it does not mean ‘discovering (already existing thing)’ but ‘creating (not yet existing)’. Art here is not only the example of learning par excellence but the becoming of world itself. Artist learning means no other thing than a creative life of both universe and human. Art education is important, for it is a kind of exercise of life as an artist who always create oneself.

Work of art as “a block of sensations”in the Deleuzian aesthetics

Jae-Yin KIM

Deleuze defines work of art as “a block of sensations” or “compound of percepts and of affects”. Work of art is independent of model, artist, personae in the work, appreciator and creator. It acquires ‘being or existence in itself’ beyond the subject-object relationship presupposed in Modern epistemology. That’s because the compound is finally accomplished as a form of “auto-position”. Work of art is posited by making sensible the becoming of forces, which is non-human becoming, non-organic life constituting the universe. Human life is imprisoned in organic life, subjected to organic whole. Non-organic life consists in the life beyond such restrictions, and becomes one with the cosmic forces or becomings. The task of art is to attain and capture the cosmic non-human forces which is beyond human, is through human, and constitutes human. Art is an attempt to reach the infinite universe by means of the finite work. Only art can accomplish this task and has the power to liberate life.


Subject Category:  philosophy of art, Modern French philosophy
Keywords:  sensation, percept, affect, force, non-organic life

Deleuze, Marx and Non-human Sex: An Immanent Ontology Shared between Anti-Oedipus and Manuscripts from 1844

Jae-Yin Kim

Until now, many have wrongly considered Deleuze’s concepts of the unconscious and desire as human, and have postulated humanity as a-historically given. I show (1) the ontological nature of the unconscious and desire in Deleuze; and (2) the affinity between the thought of young Marx and that of Deleuze. In the last instance, Marxian socialist man is a Deleuzian schizophrenic and Marxian process of natural production is a Deleuzian schizophrenia. The non-human ground of humanity, or the historical materialist foundation of humanity, is the starting point of the new ethico-political philosophy.

Non-humanist Ontology in Deleuze

KIM, Jae-Yin
Department of Philosophy (Western Philosophy)
The Graduate School
Seoul National University

  In Anti-Oedipus. Capitalism and Schizophrenia (1972/3, with Félix Guattari), Gilles Deleuze constructs a singular ontology, which I call “A Non-humanist Ontology”. Deleuze’s ontology is closely related to the practical philosophy including ethics and politics. As a naturalist and materialist, Deleuze wants to found a practical philosophy on an immanent world. If we fail to understand the right nature of man, all our endeavor to change our world should be destined to fail too. It is necessary to understand the nature of the world and man as material being.
  Deleuze’s conception of the unconscious is different from the psychoanalytic one. Deleuze argues that in the level of production the unconscious is orphan and produces itself (auto-production). The unconscious is not a part of psychic apparatus as psychoanalysts usually think. Rather, it refers to the universe, or the being as a whole. Only then, the immanent ontology can be constructed without any introduction of the transcendence or God. The unconscious is like a “non-human sex” according to the expression of Karl Marx. It excludes any conception of sex, sexuality, production, and desire as “parental production”.
  But Deleuze’s conception of the unconscious is not a pure logical construction as such. It can only be found and founded as a result of the analysis of the history from the savage (territorial) society to the civilized (capitalist) via the barbarian (despotic). Only in the end of the history, the nature of society is revealed and the essence of the being as a whole can be investigated as a limit of social history.
  Deleuze revises the concept of desire in order to construct his own ontology. For, until now, desire is understood only as a pursuit to the lacking object or as a production of the phantasy as a psychic reality. Contrary to these traditional conceptions, Deleuze argues that desire is an immanent principle of the universal production and itself produces reality. And Deleuze also reconstruct the concept of machine as a social machine and a desiring-machine beyond the technological machine. Machine is defined as a system of break (coupure) of flows. Here break means not a separation from the reality but a construction or arrangement of the reality. Machine is like a factory. World as a whole always changes in the process of auto-production.
  The unconscious or the universe is the production in general, that is the production of production, the production of recording and the production of the consumption. In Deleuze, the theory of production is the same as the ontology. There are three syntheses of production which include connection, disjunction and conjunction. All these syntheses should be considered in terms of temporality, because the universe is always re-synthesized in the process of time.
  Schizophrenia is the term of this process in Deleuze. It is not a mental disease but a process of the universe which is also expressed as the essential unity of man and nature. Our practical task is to complete the process. Liberation of desire has no other meaning than this. But in our capitalist regime, our lives are regulated and controlled for the profit of capital. Even psychoanalysis is in the service of the capital by imposing the Oedipus (nuclear familism) consisted of daddy, mammy and child. Now it is time to escape from the voluntary subjection to the capital and to try to our best to live our own lives as a breakthrough not as a breakdown.

  keywords : the unconscious, desire, machine, production, synthesis