By Elizabeth Grosz
In changing into Undone, Elizabeth Grosz addresses 3 comparable concepts—life, politics, and art—by exploring the consequences of Charles Darwin’s account of the evolution of species. difficult characterizations of Darwin’s paintings as a sort of genetic determinism, Grosz indicates that his writing finds an insistence at the distinction among traditional choice and sexual choice, the foundations that control survival and reputation, respectively. Sexual choice complicates ordinary choice by way of introducing aesthetic components and the expression of person will, hope, or excitement. Grosz explores how Darwin’s idea of sexual choice transforms philosophy, our figuring out of humanity in its female and male types, our principles of political family members, and our ideas of paintings. Connecting the naturalist’s paintings to the writings of Bergson, Deleuze, and Irigaray, she outlines a postmodern Darwinism that is aware all of lifestyles as different types of competing and coordinating modes of openness. even supposing feminists were suspicious of the options of nature and biology primary to Darwin’s paintings, Grosz proposes that his writings are a wealthy source for constructing a extra politicized, radical, and far-reaching feminist realizing of subject, nature, biology, time, and becoming.
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Extra resources for Becoming Undone: Darwinian Reflections on Life, Politics, and Art
How to understand evolutionary emergence as a relation between life and matter? If Bergson extracts a truly philosophical concept of life from the scientiﬁc endeavors of Darwin, then ultimately Deleuze draws his understanding of life from Bergson. There is an indirect ﬁliation between Deleuze and Darwin, even if, for Deleuze, Darwin misunderstands vital di√erence. Nevertheless, Darwin elaborates a vital di√erence as the motor of all forms of life, what life shares in spite of its lines of divergence.
Life remains indebted to the preindividual to the extent that the resources for all its becomings, all its future individuations and self-actualizations, must be drawn from these singularities which it must incorporate. Life elaborates an interior, one that is never ﬁnalized or secure but which must itself develop metastable forms capable of further elaboration. It is this process of elaboration that di√erentiates a cell from a chemical, or the simplest form of life from a stone. The living produce a barrier, a cell, an outline, a minimal space or interval that divides it from its world, at least provisionally, but through which it nevertheless accesses those parts of the preindividual, the real, or matter that it requires to continue and develop itself.
Organic life is di√erent in kind from matter, but this di√erence utilizes the same resources, the same forces, the same mobilities characterizing the material order. Life is an elaboration out of matter, part of which remains fundamentally attuned to inert materiality and part of which resists all forms of stasis and ﬁxity, to which our understanding of matter tends. Bergson does not believe matter itself is inert. Rather, his claim is that our mental and intellectual habits, particularly those regulating scientiﬁc intelligence, tend to the reduction of movement and change to identity and stasis.