2.12.1 No doubt the first act of the calculus consists of 'depotetentialisation' of the equation (for example, instead of 2ax - x2 = y2 we have dy/dx = (a - x/yu). However, the analogue may be found in the two preceding figures where the disappearance of quantum and the quantitas was the condition for the appearance of the element of quantitability. . . . (Deleuze, 1994, pp. 174-5) (Sokal pg. 213)

2.12.2 What is important to note however, is that Sokal and Bricmont are much more tolerant with use of scientific terminology in context of art or science fiction:

2.12.3 If a poet uses the words like 'black hole' or 'degree of freedom' out of context and without really understanding their scientific meaning, it doesn't bother us. Likewise, if a science fiction writer uses secret passageways in space-time in order to send her characters back to the era of the Crusades, it is purely a question of taste whether one likes or dislikes the technique. (Sokal, 1997, pg. 8)

2.12.4 Clearly this points to a semi-favourable position for artists in relation to the sciences, particularly those working with technology. What complicates matters, however, is that many artists are inspired and interpret the very philosophers that are under attack from the scientific community. [10] What Sokal and Bricmont fail to notice is that absolutely all authors that comprise their book have become staple philosophers for artists working with media, particularly Deleuze and Guattari, to whom they dedicate an entire chapter analysing their misuse of scientific and mathematical terms. On the one hand one could argue that Deleuze and Guattari utilise these scientific and mathematical terms in a distinctly metaphorical or philosophical senses, which would explain their vague or tenuous relationship to 'hard' scientific fact; this argument is lost, however, when one points to direct quotes and references out of a book on the theory of differential equations that uses terms such as 'singularity' and 'singular point' in a distinctly technical and mathematical sense. The terms are then used in their literal senses without any distinguishing between their use as such rather than in a metaphorical context, nor is there offered an explanation of how we might understand the relationship between literality and figuratation as such. (Sokal, 1997, pg. 216) (Deleuze,1990, pp. 50, 54, 339-40n) Although I very much sympathise with Deleuze and Guattari's approach and can relate to their writings in many ways, I feel that Sokal and Bricmont are flashing an important red light to artists who are inspired by scientific innovation and discovery and are interested in working closely with the scientific community. [top]

Notes:

10. See list of conferences that have been organised around discussions of the work of Deleuze and Guattari; lists.village.http://virginia.edu:80/~spoons/d-g_html/d-g.html
For artists inspired by science: see Wellcome Trust's SCI~ART initiative, 1998 and Art and Science Collaborations, Inc. : www.asci.org [back]