By Rebecca Coleman
Deleuzian inspiration is considerably changing study practices within the social sciences, specially via its powerful problem to the fake divide among concept and perform. This booklet brings jointly overseas lecturers from a number of social technology and arts disciplines to mirror on Deleuzian philosophy's substantial capability to open up and form methodologies and practices in empirical research.
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Additional resources for Deleuze and Research Methodologies
Taylor This chapter focuses on Deleuze’s Cinema 1: The Movement-Image (2005a) and Cinema 2: The Time-Image (2005b). ’ To answer this question the chapter draws on empirical data from two education research projects in which doctoral and undergraduate students employed video as a creative medium for selfexpression, as a method for constructing visual meanings about their educational identities, and for producing multi-dimensional reflexive narratives. In bringing together empirical materials, philosophical concepts and sociological ideas the chapter draws out from Deleuze’s writings on cinema some elements of a new conceptual language with which to consider visual data.
Sophie sits back down. Tyler: (looking into the camera, not at Sophie) Sorry, I have to go. ) 0:00:52 Sophie sits on the red rail and looks in the direction in which Tyler has gone. She is still holding on to the blue coat hanger that Tyler gave her. indd 31 05/02/2013 11:50 32 Deleuze and Research Methodologies 0:01:24 Sophie is still looking across the nursery at Tyler. She has been sitting like this since he left. The camera pans around and shows Tyler, who is sitting at the snack table eating, with Jon and some other children.
The Cinema books, then, exemplify Deleuze’s practice of philosophy as a form of concept-testing. Deleuze acknowledges this in his statement that the cinema books provide ‘a theory of cinema [which] is not “about” cinema, but about the concepts that cinema gives rise to and which are themselves related to other concepts corresponding to other practices’ (2005b: 268). As Tomlinson and Habberjam put it, Deleuze ‘is engaged in the work of concept creation “alongside” the cinema’ (2005: xvi). This philosophical act of ‘thinking with cinema’ clearly differentiates him from cinema historians and theorists (Nelmes 2011), analysts of cinematic style and form (Bordwell and Thompson 2010), genre studies (Altman 1999), and theorists of the cinematic experience and viewer engagement (Block 2010).