Research group on fiction, Ben Woodard and Tony

Yanick: Thinking fiction as philosophical fiction

May 14th 2016

On fictions and script

1) Thistextisacommand,madebyGallienDjean,followingthemovieturnedby
BenotMaire(Letre)onobjectsandworksofart,withforactorsFranoisLaruelle
andI.
2) Thecommandwasfirstonthescriptsonly.
3) Thepossibilityofthewritingsofthescriptwasapointofexternalityfromthe
philosophy,here,theideaoflostfilms.Ithinkthisisaconditionforfictionin
philosophy.InphilofictionofFranoisLaruelle,thispointofexternalityisquantum
mechanics,becauseithasnomoreobjects,butoperators.Itisachangeoflevel.Itis
notadirectrelationshipbetweenphilosophyandpointofexternality.
4) So,thepossibilityoffictionisnotinthephilosophy,itisintherelation,anindirect
one,betweenphilosophyandtheother.Thissupposeadecompositionof
philosophy.Sheisnomoreinsuperiorstanceontheother(thelostfilm),butshe
transformedbyit(here,theEssaytointroduceinphilosophytheaffectofcolor,to
paraphraseKant).Therearenomoredialecticalrelationsbetweenphilosophyand
pointofexternality.Itisadriftofphilosophy(asbetweencontinents).Several
scriptsrestonthisideaofthelossofprimacy,andthedifferencebetweenthe
philosopher(asubject)andthehuman(ageneric,abletomakephilosophy,science,
filmsandsoonephilosophyisonthesamelevel).
5) Thefilmisaconceptualcharacter,who,asthesubject,isfalling(inthecave,inthe
generic,asalivedwhithoutlife,etc..)andlost.
6) Theoriginonphilofiction:amatrixbetweenphilosophyandquantumunderquantum
(thereisnomorereversibilityasinphilosophy).Here:acombinationoffilmand
philosophy,withthemethodofunderdetermination(without)
BUT:
lost films is an idea very compatible with philosophical movements. The point
of exteriority, the lost film, has commons with philosophy. These scripts are in
this sense classical. The lost films are lacking, they fail eternally, as said Pguy,
and they fall in the immanence of philosophical matter.
SO
How is that the movie is not more describable by philosophic means? It would not
to have transcendence anymore, to be identical to its own light and movement. It
explains the distinction in the scripts between films and images, and the contrast
between light and obscurity, who are not interchangeable. We have light or we
have obscurity, there are no passages, and there is an identity of sun and cave:
this identity is the death of film. Only the subject X, without empirical qualities,
can pass from obscurity to light and meet colors.

Role of fiction in my work

One of my problem is how to think of the multiplicity of right of philosophies.
What is the status of this multiplicity, when we are writing philosophy? My
problem is not to pass from a philosophy to another, but to think of their
compatibilities in the philosophical act. So, I suppose a generic space for
philosophies. A proposition of one philosophy can be decomposed to become
compatible with propositions of other philosophies. We can take together logics
incompatible to understand philosophies (e.g. primacy of terms, or primacy of
relations), that we can superpose, alternate, combine, etc. It is a sort of
pragmatism in between the philosophies.
I think, it is possible to construct a generic space for philosophies, to make
decompositions and compatibilities between philosophies. It is no more a
comparative attitude, but a stance to analyze philosophy with the hypothesis of
the primacy of multiplicity of philosophies on the unity. If it is philosophy, it is a
multiplicity of philosophies. Is it possible to take a particular philosophy as the
point of exteriority? Perhaps, locally, and another further.
I have so the sake of a new style of writing: writing with philosophies, not solely
in a philosophy, which is, I know, very complex. When I meet a philosophy, I know
there are in the same time other philosophies. Fiction is a possibility to take in
account this implicit knowledge. So the results of decompositions,
transcendental, a priori, empirical are disjoint, and philosophy become as an
integrative object.
So the fiction is necessary, as the combination between concepts et propositions
of various philosophies. One philosophy can be transformed as a dimension of an
object X, and after as a cluster of variables in a matrix. Fiction is so an
extension of the possibilities of philosophies, but without primacy ones over the
other.
So the command of scripts was very good to learn this writing. It is one of the
numerous possibilities.

See: Homo cognoscens. Des Humains, qu'ils philosophent par hypothses ,

Philosophical Anthropology 2015, vol. 1, no 1, pp. 6278.

In generic Epistemology
Classical epistemology is theory-centered, it turned itself near the past, example
extract from past of mechanics, physics or chemistry. In the era of models, the
epistemology collapse and was replaced by sciences studies, sociological studies
on sciences.
Generic epistemology is turned on the contemporary sciences, with devices to
see new phenomena and methods in sciences. It began with an extension, an
epistemology of models is one where models are no more understand as
mediators between theory and experience. All the ingredients of the science had
to be liberate of the tensions between theory vs facts. It is so an open
epistemology, science is an indirect object, because sample of science is not a
rule to explain science. As in non-philosophy, it is a change of level.

It is possible to see models as fictional devices. It was the first step to introduce
fiction in epistemology. But it is lacking the interdisciplinary regime current in
sciences. So we invent some conceptual instruments to open a generic space:
Integrative objects, no given, partially known, without phenomenological
distance, without synthesis, and collective intimacy in sciences, a new mode of
exchange between researcher. In this space, there are some operators who
permit to combine fragments of scientific and philosophical knowledge, on of
these operators a fiction, who open possibilities of articulations of scientific and
philosophical (and) fragments. Fiction combines concepts rendered generic with
fragments of knowledge. Its structure is so C x K under K, more generally
n

Cn P(K )/ K i

The under-determination is the guaranty of non-reversibility.

It is explained in the text as the Design theory and method of School of Mines de
Paris. Fiction is linked with under-determination. The expansion of knowledge is
based on the suppression by hypothesis of one of the properties of the concept.
So, we are conduct to use new knowledge to understand the concept (who is too
the object).
The point of externality is an impossible object, deprived of one of its essential
properties.
So, we combine O with K(O): it is too a manner to introduce collective intimacy
and the mannerism in science as in art and philosophy. Writing with philosophies
is also known philosophy and our relation to the philosophy.
The others operator in generic epistemology are virtual and future.
See:

AFS, Muriel Mambrini-Doudet, Armand Hatchuel (2011) "Une nouvelle logique

de l'interdisciplinarit", Nouvelles Perspectives en Sciences Sociales, vol.7, n 1,
pp.105-136.
- AFS & Armand Hatchuel, On generic Epistemology, Angelaki, Journal of the
Theoretical Humanities, vol.19, n 2, 2014, pp. 131-144.
- On Contemporary Objects , in : Robin Mackay ed., Simulation, Exercice,
Operations Published on the occasion of the exhibition John Gerrard : Exercices
at Kunsthalle Darmstadt, 2015, Falmouth (UK), Urbanomic, 2015, p. 63-68.
- Lo Coutellec & Anne-Franoise Schmid, 2014, Modlisation, simulation,
exprience de pense ; la cration dun espace pistmologique. Regards partir
des uvres de Vernadsky et de Poincar , in : Franck Varenne, Marc Silberstein,
Sbastien Dutreuil, Philippe Huhneman eds., Modliser et simuler. Epistmologies
et pratiques de la modlisation et de la simulation, tome 2, Paris, Editions
Matriologiques, p. 21-48. ISBN 978-2-919694-72-3
Muriel Mambrini-Doudet (biologist) and I achieve a handbook on generic
Epistemology for the future sciences.
-