All Thoughts Are Equal is both an introduction to the work of French philosopher François Laruelle and an exercise in nonhuman thinking. For Laruelle, standard forms of philosophy continue to dominate our models of what counts as exemplary thought and knowledge. By contrast, what Laruelle calls his “non-standard” approach attempts to bring democracy into thought, because all forms of thinkingincluding the nonhumanare equal.
John Ó Maoilearca examines how philosophy might appear when viewed with non-philosophical and nonhuman eyes. He does so by refusing to explain Laruelle through orthodox philosophy, opting instead to follow the structure of a film (Lars von Trier’s documentary The Five Obstructions) as an example of the non-standard method. Von Trier’s film is a meditation on the creative limits set by film, both technologically and aesthetically, and how these limits can push our experience of filmand of ourselvesbeyond what is normally deemed “the perfect human.”
All Thoughts Are Equal adopts film’s constraints in its own experiment by showing how Laruelle’s radically new style of philosophy is best presented through our most nonhuman form of thoughtthat found in cinema.
About the Author
John Ó Maoilearca is professor of film studies at Kingston University, London. He is author of Post-Continental Philosophy: An Outline and Philosophy and the Moving Image: Refractions of Reality and coeditor of Laruelle and Non-Philosophy.
Table of Contents
Introduction: Laruelle and the Nonhuman in Five RemakesThe Authority and Victimization of Philosophy‘It is Necessary to Abandon the Philosophical Usage of Thought’: From Position to RepresentationPerformative InconsistencyMaterial Thinking The Structure of Decision and Postural MutationHypotheses of Real Science Anthropomorphism and Extended ThinkingA Film of Philosophy: The Five ObstructionsThe Horror of the NonhumanOutline of a Structure, with Tangents1. Philosophy, the Path of Most ResistanceThe Black Box of PhilosophyPhilosophy’s Dystopias: The Victims of Thought A Non-Philosophical Tangent: The Most Miserable Place in the WorldTu Quoque or, You Too Are One of Us Deleuze and Badiou: Two Perfect PhilosophersThe New RealismLaruelle is No Kant: From Determination-in-the-Last-Instance to the Mutational TranscendentalResidual Objects and Invisible Victims: The Philosophical Essence of Cinnabar2. Paraconsistent Fictions and Discontinuous LogicLogic, Optics, CutsPerformative Realism: On DerridaA Photographic Tangent: Thinking, Fast and Slow (The 12 Frames Obstruction)Logical Contradiction and Real Identity: Inside Meinong’s JungleFrom Contradiction to Paraconsistency: Trivial ExplosionsThe Cinema of Discontinuous Thought: A Non-Hegelian MovieMise-en-fictionPhilosophical Boxes and Impossible Boxes3. How to Act Like a Non-PhilosopherRemaking the OneFive Takes on DecisionA Behavioral Tangent: Being True to the Idea (A Film du Look)Posture, Photography, and the Game of PositionsRadical Behavior Three Distances: Withdrawal, Hallucination, OrientationMiming Philosophy: A Game of Postures Crux Scenica: Philosophy’s First Position (Versus the Human Posture)4. The Perfect Nonhuman: Philosomorphism and the Animal Rendering of ThoughtEvery Anti-Communist is a Dog: Indefining the HumanIndividuals, Strangers, PosthumansAn Idiotic Tangent: Animal Obstruction (The Stupidity of Animation)Protecting the Human Pet Theories: On PhilosomorphismRadical EqualityPoliticized Animals: From the Man-in-Person to the Animal-in-PersonCinematic Animals: The Horror for NonhumansTranscendental Idiocy, Or, the Insufficient AnimalDemocracy of VisionFrom Cosmological Perspectivism to Radical AnthropomorphismTowards an Animal Philosophy: From Sloterdijk to Flusser5. Performing the Imperfect HumanA Performance PhilosophyA Performative Tangent: This is How the Perfect Human Falls (The Radically Passive Obstruction)The Spectra of Performance: From Nonart to Not-ActingThe Specter of PerformanceHopeful Monsters: Evaluating PerformanceThinking Personally:Non-Philosophia ad HominosReflection as Mutation: Unconditional Reflexes (A Final Tangent)Conclusion. Making a Monster of Laruelle: On Actualism and AnthropomorphismCoda. Paradise Now, Or, The Brightest Thing in the World: On Nonhuman UtopiaAcknowledgmentsNotesBibliographyIndex