Dissertations / Theses on the topic 'Deleuze, Gilles Views on art'
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Morrow, Stephen M. "The Art Education of Recklessness: Thinking Scholarship through the Essay." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492288407200045.
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Ramey, Joshua Alan. "Gilles Deleuze and the powers of art." Click here for download, 2006. http://proquest.umi.com/pqdweb?did=1176539841&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Salucci, Marco. "Gilles Deleuze, une inéfinition esthétique." Paris 8, 2014. http://www.theses.fr/2014PA084150.
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La notion de ressemblance, l’inconscient œdipien, l’ordre de la grammaire, sont respectivement trois manières finalisées à définir la sensibilité, le désir, l’écriture. Cependant, la philosophie de Deleuze fait dysfonctionner la ressemblance, délirer le désir, met sous tension la grammaire. Dans cette thèse, nous proposons une approche opératoire de la pensée de Deleuze afin de montrer par quels mouvements et par quels concepts, la définition atteint ses limites et la pensée retrouve le véritable étonnement philosophique. Lorsque désir et objet, Dire et Faire, corps et sensation, se retrouvent dans une zone indéfinie, la philosophie ne concerne plus la pensée, elle fait sensation. Cette thèse décompose et explicite les mouvements et les milieux où les concepts deleuziens se forment en partant de la destitution d’un objet clair, pensé et défini. Les vitesses qui parcourent sa philosophie seront mises en contrepoint avec des œuvres d’art qui permettront d’activer une sensation au delà de tout objet défini et en-deçà de tout sujet constitué. Nous verrons comment les trajets indéfinis de leur destitution parcourent une surface dans laquelle la notion de création rencontre, chez Deleuze, la vieThe concepts of similarity, unconscious Oedipal tendencies, and grammatical order are, respectively, three basic ways of framing sensibility, desire, and writing. Deleuze’s philosophy, however, dismisses this understanding; he renders similarities dysfunctional, while enflaming desire and energizing grammar. In this thesis, we propose an operative approach to Deleuze’s thought, in order to show how it has reclaimed the power of shocking philosophical insight. When desire and its object, or the declaration and its accomplishment, as well as the body and its capacities of sensation, are left in an indefinite area, philosophy is no longer confined to realm of thought; it creates a sensation. This thesis deconstructs and makes explicit those areas where Deleuzian concepts take on this matter of the removal of the certain object. The quick thinking that runs through his philosophy will be placed in counterpoint to those works of art that activate a sharp feeling beyond all defined objects and subject matter. We will see how such undefined paths give rise to a surface where the notion of creation is, according to Deleuze, life itself
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Law, Sum-po Jamsen. "Nietzsche, Deleuze and video art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2222693X.
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Baranzoni, Sara <1981>. "Pensiero e creazione. Il theatrum philosophicum di Gilles Deleuze." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3950/.
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Partendo dalla constatazione di un sempre maggiore utilizzo di terminologie, concetti e citazioni deleuziane all’interno delle pratiche sceniche contemporanee e nelle riflessioni ad esse legate, e prendendo atto dell’assenza di studi specifici che affrontino l’argomento nella sua complessità, il lavoro si propone di penetrare nelle opere e nelle teorie del filosofo Gilles Deleuze con uno sguardo attento al verificarne i punti di contatto bidirezionali con le arti sceniche, al fine di individuare – all’interno di un pensiero che solo raramente si è occupato direttamente di teatro, ma che del teatro ha la potenza – quel materiale che può servire da stimolo per la creazione e l’analisi della scena contemporaneo.
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Brito, Vanessa. "Les arts dans la philosophie de Gilles Deleuze." Paris 8, 2007. http://www.theses.fr/2007PA082850.
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Ce qui se présente toujours à l'étonnement de qui se saisit de l'œuvre de Deleuze, c'est l'abondance de ses références artistiques et la profusion des rencontres entre art et philosophie. En identifiant un programme à résonances éthiques et politiques que Deleuze accorde à la littérature, à la peinture ou au cinéma, ce travail se propose d'éclairer comment s'organisent les rencontres entre le visible et le lisible. Il cherche notamment à préciser quel est le rôle et le statut des arts dans la philosophie de Deleuze. En analysant la notion d'une "philosophie pratique", la conception deleuzienne du sublime, le thème de la "voyance" et de la "fabulation", et l'allégorisme de Deleuze, cette étude révèle enfin comment se construit un plan d'immanence entre les inventions de l'art et les puissances de la vieWhat is always astonishing for the reader of Deleuze is the abundance of his artistic references and the multiplication of encounters between art and philosophy. By identifying a program with ethical and political resonances at work, for Deleuze, in literature, painting and cinema, this thesis sets out to clarify how these encounters between the readable and the visible are organized. What is ultimately at stake in the enquiry is the exact status and role of the arts in Deleuze's philosophy. By examining the themes of "voyance" and "fabulation", Deleuze's conception of the sublime, his use of allegory and the notion of a "practical philosophy", the enquiry finally reveals the construction of plane of immanence between the inventions of art and the powers of life
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Dewsbury, John-David Charles. "Theatre, an empty space : a thought performance after Gilles Deleuze." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/7a9b6429-d582-4369-85d4-5c38606bf867.
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Landaeta, Mardones Patricio. "Gilles Deleuze y Jacques Rancière. Arte, montaje y acontecimiento." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/119527.
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The critique of images is seen as a set-up’s critique for the emergency ofcritical thinking in the era of the proliferation of information and communication systems, imposed due to their apparent objectivity. This article discusses in seven paragraphs the link among montage, image and event according to the thoughts ofGilles Deleuze and Jacques Rancière.La crítica de las imágenes se entiende como la crítica del montaje para la emergencia de un pensamiento crítico en la era de la proliferación de los sistemas de comunicación e información, que se imponen en su aparente objetividad. El presente artículo aborda en siete parágrafos el vínculo de montaje, imagen y acontecimiento de acuerdo al pensamiento de Gilles Deleuze y Jacques Rancière.
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Marzec, Megan E. "Wastelands, Revolutions, Failures." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429889399.
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L'Heureux, Antoine. "Commitment to a life : thinking beyond Gilles Deleuze and Félix Guattari's conceptualization of art." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/8007/.
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This thesis takes as its point of departure Gilles Deleuze and Félix Guattari’s conceptualization of art. Art for them is the expression of A Life in the living. A Life is the ontological and genetic condition of that which we are and ordinarily experience, it is the vital and material transcendental plane of immanence which characterizes Deleuze and Guattari’s ontology. Their conceptualization of art, however, sits uncomfortably with contemporary art in rejecting conceptual and photographic practices, and in its radical rejection of human experience. The aim of this thesis is to expand their conceptualization of art whilst remaining close to what is argued to be its core or essence: a commitment to A Life. This thesis explores three paradigms of commitment to A Life that move beyond the paradigm of A Life in the living. These paradigms are developed through the application of concepts developed by Deleuze and Guattari to contemporary mediums and artworks, with the aim of broadening the relevance of their philosophy for contemporary artistic practices. Deleuze and Guattari’s aesthetics is analyzed and expanded through an engagement with works by Francis Bacon, Thomas Struth, Pierre Huyghe, Francis Alÿs and Peter Doig. By finding a commonality between these artists in their commitment to A Life, this thesis hopes to develop a conceptualization of art which allows us to understand how contemporary art practices engage with A Life, the infinite inside which we live and which lives inside us.
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Ismail, Nouri. "Esthétique nomade : la ligne, Deleuze et Klee." Paris 8, 2010. http://octaviana.fr/document/150188242#?c=0&m=0&s=0&cv=0.
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A partir de plusieurs notions et techniques appartenant à Deleuze et à Klee, nous avons tenté de créer un agencement esthétique nomade. C'est un ensemble ouvert, constitué d'éléments disparates et traversé par une ligne de fuite. Une esthétique nomade a pour trait fondamental une nouvelle conception de l'espace. C'est une distribution nomade de l'espace. Dans cet espace nomade, les éléments ne sont pas des formes, mais des événements, des heccéités, des mises en forme : Gestaltung. C'est le recours à un concept clé, la ligne nomade, qui permet de considérer cette nouvelle esthétique et renvoie à une fonction opératoire, et non à une essence. C'est à partir de ce concept de la ligne, après la définition de ses composantes et de ses rapports avec la forme que nous avons d'abord développé les traits principaux, dégagés à partir de l'œuvre de Deleuze et de Klee, de cet espace plastique nomade. Cette réflexion nous a alors amené à définir l'essence de cette esthétique nomade dans sa conception originale de la création, comme rapport avec le devenir et les forces du chaosFrom several concepts and techniques belonging to Deleuze and Klee, we tried to create an nomad aesthetic arrangement. An aesthetic for nomadic basic feature a new design space. In the mobile space, the elements are not forms, but events, hecceities, the formatting : Gestaltung. It is the use of a key concept, the Nomad line, which allows us to consider this new aesthetic and returns an operational function, not an essence. It is from this concept of the line that we first developed the main features of this area plastic nomad. This discussion then led us to define the essence of this aesthetic nomad in the original design of creation, as compared with the forces of chaos
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Waterhouse, Brent Alton <1971>. "Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5096/.
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In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.
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Hardt, Michael. "The art of organization : foundations of a political ontology in Gilles Deleuze and Antonio Negri /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6623.
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Campos, Ana Paula de. "Arte-joalheria = uma cartografia pessoal." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284376.
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Orientador: Anna Paula Silva GouveiaAcompanhado de 2 CD-ROM: Material de Apoio (Mídia Digital) ; Anexos (Mídia Digital)
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-18T01:47:12Z (GMT). No. of bitstreams: 1 Campos_AnaPaulade_D.pdf: 79702408 bytes, checksum: 2ef53e5db2d259576cab947e6ce8107b (MD5) Previous issue date: 2011
Resumo: Ao tomar a joia como assunto, inscrevendo-a no território da arte, essa tese apresenta o campo da arte-joalheria como possibilidade de produzir e pensar esse objeto de modo poético, desobrigando-o de seu vínculo com materiais preciosos e de sua função decorativa. Nesse sentido aborda o fazer artístico em joalheria a partir de alguns pressupostos extraídos da teoria das multiplicidades de Deleuze e Guattari, desenvolvendo-os nesse território. Para isso empresta desses filósofos referências conceituais e procedimentos de pesquisa que permitem realizar um percurso que articula os conteúdos teóricos e práticos apresentados, construindo transversalidades. Sob a ótica da arte-joalheria, a pesquisa aborda questões relativas ao desejo, corpo e materialidade, entendidas como elementos intrínsecos a joia e, tomando o modelo rizomático do pensamento proposto por Deleuze e Guattari, discute-as a partir das dimensões presentes: pensar, fazer, sentir e propor, considerando-as como em constante estado de fluxo. Como recurso para essa investigação utiliza-se uma cartografia também ancorada no pensamento desses autores, que consideram a realidade contemporânea uma paisagem dinâmica, na qual se articulam contextos individuais e sociais. O caráter do procedimento de pesquisa proposto distingue-se daquele no qual os mapas são registros de uma paisagem fixa. Trata-se de uma cartografia configurada como performance, a qual pressupõe seguir as transformações à partir da experiência do real, acompanhar os acontecimentos sendo parte deles. Portanto workshops realizados com artistas e produção de peças dentro desse território são tomados como fundamentais recursos de investigação e articulados a conteúdos extraídos de entrevistas e palestras, além do material bibliográfico. A partir das experiências vivenciadas foram identificadas conexões que possibilitaram a construção e organização dos capítulos. Neles agenciam-se conceitos oriundos do pensamento de Deleuze e Guattari e o território da arte-joalheria, tanto em sua dimensão teórica quanto pratica. Desse modo as ideias apresentadas são articulações derivadas de uma leitura da experiência como possibilidade de refletir conceitos
Abstract: By taking the jewel as a theme and considering it within the realm of art, this thesis presents the field of art jewelry as a possibility of producing and contemplating an object in a poetic manner, devoid of its link to precious materials and to any decorative function. In this sense, the artistic jewelry production is approached from some assumptions selected from Deleuze and Guattari's theory of multiplicities and is developed accordingly. Conceptual frameworks and research procedures, borrowed from these philosophers, link theory and practical content through cartography, in order to build transverses. Through the art-jewelry perspective, the research addresses issues relating to desire, body and materiality, defined as intrinsic elements of the jewel. The research takes the Rhizome concept proposed by Deleuze and Guattari, and discusses these issues according to the apparent dimensions: think, do, perceive and propose, considering them in a constant state of flux. As a research procedure the study uses a cartography also anchored in these authors thinking, who consider the contemporary reality as a dynamic landscape in which individual and social contexts occur. The cartography procedure adopted here differs from that whose maps are records of a fixed landscape. Instead, this one is a "performance cartography", which requires following the transformations by empirical experience, assumed that one would accompany events, taking part in them. Therefore, workshops with artists and jewelry production within this environment are considered as fundamental resources for investigation, and were related to the information which was taken from interviews, lectures and library materials. From these experiences, connections were identified which enabled the construction and organization of presented contents. This content was a result of the connections between the art jewelry territory and concepts arising from the thought of Deleuze which exist in both practical and theoretical dimensions. Thus, the ideas presented are derived from a reading of experience as a chance to reflect concepts
Doutorado
Artes Visuais
Doutor em Artes
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Topka, Marzena. "Ruptured Spaces: cracking Deleuze and Guattari's lines of flight in contemporary art practice." Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/729.
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In what ways can a relationship be drawn between contemporary art practice dealing with ruptured/destabilised space and Gilles Deleuze and Félix Guattari’s concept of lines of flight? This is the starting point of my thesis. Central to the question is the control of space through mapping, measurement or invention of categories (classification systems) that fulfill a vital pragmatic role of organising, locating and identifying. Postmodern cultural theorists recognise that these categories can also condition and place boundaries on the way we relate to or understand our environment, and for that reason they seek to examine and shake the foundations of Western systems of organisation. For Postmodern theorists the key to alleviating the unwanted symptoms is to identify the locus of power and overturn it. Deleuze and Guattari stand in opposition to an externally imposed system of organisation, however their approach takes into account organisation at a micro level. They developed a toolbox of concepts that could potentially be deployed to bring forth a subjectivity based on creativity rather than control.The focus of my writing is on Deleuze and Guattari’s concept of lines of flight. They propose a way of being and thinking that allows for these creative connections to emerge. These molecular connections have the potential to reconfigure habitual or molar ways of being or imagining. Deleuze and Guattari define space in terms of striated or smooth (space that is interchangeable, and in constant flow). Their spatial approach is indispensable in providing a context for my discussion of lines of flight. Deleuze and Guattari also recognise a social dimension to space that allows for connections to be made between actual (architectural) spaces and socially constructed value systems.In my practice I am interested in how a sense of destabilisation and deterritorialisation can be activated in space via installation to challenge the placement of socially conditioned or self-constructed boundaries. This thesis consists of 25,000 word thesis and 3 DVDs evidencing the creative component of my practice-led research and associated exhibitions. Both the written thesis and creative practice respond to the same question and explore the analytical and pragmatic effectiveness of the concept of lines of flight in relation to contemporary art dealing with ruptured space.
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Karam, Samantha. "Art and Becoming-Animal: Reconceptualizing the Animal Imagery in Dorothea Tanning's Post-1955 Paintings." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/470.
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In 1955, American artist Dorothea Tanning abandoned her figurative Surrealist renderings of dream-like scenarios in favor of a complexly abstract and fragmented style of painting. With few exceptions, the ways in which Tanning’s later works function independently of her earlier paintings tends to be downplayed in the scholarship on her oeuvre. Equally sparse is the scholarship on Tanning’s dog imagery, which pervades her oeuvre but becomes most apparent in her later phase. This thesis seeks to shift attention toward Tanning’s later abstract paintings; it also seeks to fill the gap in scholarship on Tanning’s dogs. Specifically, through the study of five Tanning paintings from the late 1950s and 1960s, with the theoretical aid of Deleuze and Guattari’s conception of the becoming-animal, this thesis will investigate how Tanning’s post-1955 paintings create and promote new ways for viewers to think about the relations between humans and animals in the human-dominated modern world.
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Mello, Jamer Guterres de. "Insensato : um experimento em arte, ciência e educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27050.
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Este trabalho apresenta uma proposta de discussão sobre a questão dos métodos aplicados à pesquisa científica na área das ciências humanas. Buscou-se identificar os pontos de aproximação e distanciamento entre ciência e arte, para analisar de que forma a produção artística pode contribuir com a pesquisa, de que modo estes dois campos do saber dialogam e quais são as suas possíveis interseções. Mais especificamente, esta dissertação propõe o uso do método do cut-up, formulado por William Burroughs, e da estética dos fanzines como afirmação das potências do falso e do simulacro, conceitos da filosofia de Gilles Deleuze. O trabalho se baseia também na noção de montagem cinematográfica e na sua relação com o cut-up, já que ambos podem operar como mecanismo articulador fundamental que justapõe imagens e textos para priorizar os efeitos de choque visual, de fragmentação, de imagens sujas e borradas que são comuns aos fanzines e a uma certa produção cinematográfica.This work presents a discussion proposal for the question of the methods applied to scientific research in the human sciences field. The attempt was to identify the points of approach and distance between science and art, to analyze how artistic production may contribute to research, how this two fields of knowledge dialogue and which are their possible intersections. More specifically, this master thesis prompts the use of cut-up method, formulated by William Burroughs, and fanzines aesthetics, as an affirmation of the powers of the false and the simulacrum, concepts of the philoshophy of Gilles Deleuze. The work is also based on the notion of movie editing and its relation with cut-up, as both of them may operate as a prime joining mechanism which juxtaposes imagens and texts to stress visual impact, fragmentation, dirty and blurred image effects common to fanzines and a certain cinematographic production.
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Wan, Hsu-Ting. "L'oeuvre comme évènement : une ontologie de l'art évènementiel-conceptuel et une généalogie de la modernité propre à l'art contemporain à partir de Fontaine de Marcel Duchamp (1917), ainsi qu'une typologie de l'oeuvre à travers l'avant-garde, le modernisme, le postmoderne /." Paris 8, 2002. http://www.theses.fr/2002PA082040.
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L'enjeu théorique de notre recherche consiste à élaborer une "logique de l'évènement" correspondant à un nouveau type d'art dont le mode ontologique s'est dépouillé de toute substantialité sensible ou toute matérialité esthétique et est devenu purement évènementiel ou conceptuel. Il s'agit d'une transformation du paradigme qui se manifeste comme un devenir-évènement de l'oeuvre. Nous considérons le collage cubiste comme le "dernier objet" de l'art, et le ready-made de Duchamp, notamment Fontaine, comme le "premier concept" de l'art. Ce devenir-évènement de l'oeuvre a entraîné deux grandes transfigurations du paysage dans le monde de l'art contemporain : la "socialisation" et la "conceptualisation" de l'art. . .
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Verhaeghe, Julien. "Esthétique du flux dans l’art contemporain." Paris 8, 2010. http://octaviana.fr/document/156197480#?c=0&m=0&s=0&cv=0.
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A une époque où la profusion du réel, les échanges accélérés et l’investiture du numérique tiennent lieu de paradigmes, se pose la question de la représentabilité de ce qui semble continuellement se mouvoir, face à des pratiques ou des approches théoriques qui, traditionnellement, investissent le champ de l’immobile. Comment en cela montrer ce qui sans cesse se meut ? Qu’impliquent la nécessité de vivre et de penser le monde selon une relative adéquation ? Partant d’une notion de flux, nous nous acheminerons vers une certaine contemporanéité du monde actuel, interrogeant à partir d’artistes le lien que tissent l’esthétique et le contemporain. Dans un premier temps, l’actualisation de la notion de devenir nous permet de souligner le jeu des contradictions, propices à l’émergence du nouveau et de l’événement. En cela, ce que nous enseignent des artistes tels que Tacita Dean, Darren Almond ou Sam Taylor-Wood, est que le flux s’envisage telle une articulation mouvante, animant différents ordres de grandeur. Dans un second temps, est mise en place une approche cartographique, rendant compte de la reconfiguration des rapports de forces qui, en vertu de l’esprit des « multitudes », nous rappelle que le contemporain est praxis et production. Des artistes tels que Andreas Gursky, Thomas Hirschhorn ou Francis Alÿs nous aideront dans cette voie, insistant sur la dimension articulée, participative, interactive, et en définitive, fluide, de la construction du monde actuel. C’est ce qui nous conduit vers une troisième partie où, de l’esthétique du contemporain, nous aboutissons à un contemporain de l’esthétique, dans sa tension vers une « construction esthétique de la réalité »In a period when the profusion of the reality, the accelerated exchanges and the nomination of the digital technology hold place of paradigms, arises the question of the “representability” of what constantly seems to move, in front of practices or theoretical approaches which, traditionally, invest the field of the immovable. How to show what ceaselessly moves? What involves the necessity of living and of thinking of the world according to a relative adequacy? Starting with a notion of flow, we shall move towards a certain contemporaneousness of the current world, questioning from artists the link that weave the aesthetics and the contemporary. At first, the updating of the notion of becoming allows us to underline the set of the contradictions, convenient to the emergence of the new and the event. In that, what teach us artists such as Tacita Dean, Darren Almond or Sam Taylor-Wood, is that the flow envisages such an unstable articulation, livening up various orders of height. Secondly, is organized a cartographic approach, reporting the reconfiguration of the balance of power which, by virtue of the spirit of the "multitudes", reminds us that the contemporary is praxis and production. Artists such as Andreas Gursky, Thomas Hirschhorn or Francis Alÿs will help us in this way, insisting on the articulated, participative, interactive and after all, fluid dimension, the construction of the current world. It is what what leads us towards the third part where, of the aesthetics of the contemporary, we end in a contemporary of the aesthetics, in its tension towards a " aesthetic construction of the reality "
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Filho, Sergio de Moraes Bonilha. "Hipótese volátil." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01122015-104139/.
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Percebendo no lentíssimo voo dos aeromodelos F1D um sublime que a aceleração contemporânea subtrai à vida, a presente pesquisa busca formular hipóteses em torno ao fenômeno desacelerante desse voo; para tal, entendese a \"dúvida\" enquanto potência e o \"desconhecido\" como instância de liberdade.Observing the F1D\'s slow flight, we can realize a sublime feeling that contemporary acceleration subtracts from life. Our research looks for hypotheses about this deceleration generated by the F1D; besides that, we take the \"doubt\" as potency and the \"unknown\" as a field of freedom.
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Oliveira, Jose Mario Aleluia. "Curriculos-hipertextos-pops." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252049.
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Orientador: Antonio Carlos Rodrigues de AmorimTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-08T00:11:58Z (GMT). No. of bitstreams: 1 Oliveira_JoseMarioAleluia_D.pdf: 20067763 bytes, checksum: 7c9ab3c58cd8f3cf6cb6d1b4a137fc2a (MD5) Previous issue date: 2006
Resumo: Currículos-Hipertextos-Pops assume, em sua escrita como tese, a banalidade, o ordinário e o comum aos quais remetem as culturas escolares, em seus ritmos espaço-temporais. Enfrenta esta condição de práticas educativas que se movimentam em três escolas, com professoras e professor de distintas experiências, com projetos educativos em multiplicidades. É tese que se inverte no caos. E nele se efetua. O trabalho com conceitos de Gilles Deleuze, na tese, coloca-os em fluxos para o campo dos estudos de currículo, invadindo-o e com ele seatritando. Não é uma conversa tranqüila, com canais abertos ao diálogo, à hospitalidade. Trabalhou-se na barbárie, foi preciso fazer do currículo passagem para a multidão, desconstrutora e violenta. A opção foi deixar vazar os fluxos pelo que há de mais comum e poderoso no pensamento curricular sobre a escola: sua organização em espaços e tempos da modernidade, sua centralidade nos conteúdos, sua expectativa em comunicar para ensinar. As pontencialidades do encontro do currículo com os tempos ¿deleuzianos¿ são, nesta tese, o desassossego das relações entre escola e culturas. Também são os traçados, linhas do ¿conto¿ para se considerar a política curricular como estética artística
Abstract: Curriculum-hypertexts-pops assumes, in its writing as a thesis, the banality, the ordinary and the common to which the scholastic cultures are sent, in their space-temporal rhythms? It faces this condition of educational practices that are set in motion in three schools,with teachers with different experiences, with educational projects in multiplicities. It is a thesis that inverts in the chaos. And it is made effective on it. The work with concepts of Gilles Deleuze, in the thesis, puts them into fluxes to the curriculum field studies, invading it with attrition. It is not a relaxed chatting, with open channels to dialogue, to the hospitality. It was worked under barbarism, it was necessary to make from the curriculum passage to a violent and deconstructive multitude. The option was to let empty the fluxes of the most common and powerful in the curricular thinking of the school: its organization into spaces and times of the modernity, its centrality in contents, its expectation to communicate to teach. The potentialities of the meeting of the curriculum with the ¿Deleuzian¿ times are, in this thesis, the disturbance of the relations between school and cultures. They are also the draw, lines of ¿story¿ to let curricular politics be considered artistic esthetics
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
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Foster, John-Henry Edward. "Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71800.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology.
AFRIKAANSE OPSOMMING: Hierdie studie is ʼn filosofiese ondersoek na die ontwikkeling van ʼn nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ʼn ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ʼn bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ʼn hele netwerk van ander kreatiewe en lewenspraktyke – ʼn transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ʼn veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ʼn sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om van álle ervarings ʼn verlengde spitservaring te maak – ʼn gedeelde vlak van intensiteit onder mense wat die navorser ‘die rewolusie van die verbeelding’ noem. Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding, kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit, spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.
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Longo, Anna. "Répétitions et simulacres : l'art contemporain entre métaphysique et immanence." Paris 1, 2012. http://www.theses.fr/2012PA010510.
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La thèse recherche se propose de démontrer comment la répétition théorisée par Deleuze correspond avec une certaine ligne de la pratique artistique contemporaine. Cette ligne, qui n'a pas encore été reconnue comme relative à une ontologie immanente, se détacherait d'une autre qui, en revanche, se trouve encore liée à la « répétition du même» et à la métaphysique. Nous croyons être en mesure de révéler qu'à partir des années 1960, une alternative ontologique à la métaphysique commence également à produire ses simulacres capables de renverser, enfin, le platonisme. Nous avons focalisé notre analyse des schémas de répétition sur les œuvres, sur la manière dont les artistes conçoivent la création et sur les constructions théoriques regardant le rôle et la valeur de l'art dans le contexte culturel, social et économique contemporains.
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colannino, david. "It's Always Better With A Good DM." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2136.
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It’s Always Better With A Good DM is about our relationship with objects and maps as a vector for fantasy. Beginning from the premise that humans understand the world via narrative, I am concerned with the loss of imagination in adulthood in lieu of ideology, which is no more real than stories of future and fantastic places.
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Solander, Tove. ""Creating the Senses" : Sensation in the work of Shelley Jackson." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65968.
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This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors. Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship. Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political radicalism go hand in hand. Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces. Her work is also described as object writing: a literary equivalent to surrealist object art. A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.
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Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.
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Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.
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Correale, Anna. "L'écriture du silence." Nice, 2002. http://www.theses.fr/2002NICE2006.
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Cette thèse, L'écriture du silence, est une lecture philosophique de thématiques liées à l'écriture et au rapport que l'écriture entretient avec le silence considéré non pas comme l'indicible sous-entendu des mots ou comme fondement innommable mais comme silence propre aux mots eux-mêmes, dans leur lien indissoluble avec l'immanence de la vie et de son impossibilité à être représentée. Le texte analyse ces arguments en les faisant émerger de l'oeuvre littéraire de deux écrivains femmes contemporains : Marguerite Duras et Ingeborg Bachmann, en délinéant comment l'écriture soit une afirmation de mots corporels, qui interrompt l'écoulement ordinaire du temps par une temporalité verticale qui est l'évènement des mots mêmes. L'analyse est menée avec des instruments théorétiques offerts par la philosophie, en particulier par la pensée de F. Nietzsche, M. Heidegger et L. Wittgenstein et soutenue surtout en référence aux moyens interprétatifs de G. Deleuze, J. Derrida, M. Blanchot.
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Armstrong, Beth Diane. "Hippocampus: seahorse; brain-structure; spatial map; concept." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002224.
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Through an exploration of both sculptural and thought processes undertaken in making my Masters exhibition, ‘Hippocampus’, I unpack some possibilities, instabilities, and limitations inherent in representation and visual perception. This thesis explores the Hippocampus as image (seahorse) and concept (brain-structure involved in cognitive mapping of space). Looking at Gilles Deleuze’s writings on representation, I will expand on the notion of the map as being that which does not define and fix a structure or meaning, but rather is open, extendable and experimental. I explore the becoming, rather than the being, of image and concept. The emphasis here is on process, non-representation, and fluidity of meaning. This is supportive of my personal affirmation of the practice and process of art-making as research. I will refer to the graphic prints of Maurits Cornelis Escher as a means to elucidate a visual contextualization of my practical work, particularly with regard to the play with two- and three-dimensional space perception. Through precisely calculated ‘experiments’ that show up the partiality of our visual perception of space, Escher alludes to things that either cannot actually exist as spatial objects or do exist, but resist representation. Similarly I will explore how my own sculptures, although existing in space resist a fixed representation and suggest ideas of other spaces, non-spaces; an in-between space that does not pin itself down and become fixed to any particular image, idea, objector representation.
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Whitehead, Johanna Jacoba (Hanje). "Challenging the hand : critical confrontations of female craft and animal artefact in post-apartheid visual art." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71770.
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Farina, Cynthia. "Arte, cuerpo y subjetividad. Estética de la formación y la pedagogía de las afecciones." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/2899.
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La tesis traza un campo reflexivo para repensar los procesos de formación del sujeto en la contemporaneidad, a través de un análisis de las relaciones entre la experiencia y el arte actual. Busca partir de esas relaciones para poner en cuestión las transformaciones del cuerpo a las que dan visibilidad las prácticas estéticas de las últimas décadas. Para ello cuenta con el soporte conceptual de Foucault y Deleuze, que permite problematizar el orden de lo sensible, la experiencia estética y los procesos de subjetivación contemporáneos. La tesis se pregunta por la producción de saber que se constituye en la percepción del sujeto, que configura su cuerpo como territorio de experiencias y que emplaza determinadas "formas-sujeto". Se pregunta por los procesos de formación que configuran una estética, una ética y una política de los modos de vida del sujeto. Mediante la exposición de las dimensiones ética y política de las prácticas del arte actual se busca interrogar la estética de la experiencia que constituye el sujeto contemporáneo. El estudio se compone de tres partes: en la primera se sitúa el marco teórico a partir de un uso de aquello que en la obra foucaultiana y deleuziana permite interrogar las formas de la experiencia y las prácticas estéticas, los objetos y los discursos que configuran lo subjetivo. En la segunda, se utiliza este marco para analizar determinadas obras de arte que han dado que pensar sobre la experiencia del cuerpo. Y en la tercera parte se problematiza la formación de la experiencia estética de escolares, tomando como punto de partida una investigación de campo realizada en instituciones de arte de Barcelona, que pone en evidencia las dificultades presentadas por estas instituciones para generar prácticas pedagógicas coherentes con las prácticas estéticas con las que lidian. Desde ahí se traza la cartografía de un espacio de formación que busca acoger la idea de una "pedagogía de las afecciones" y que apuesta por una práctica pedagógica capaz de incorporar los modos de hacer y las estrategias de intervención en la realidad del arte actual. Para ello se sugiere partir de un ejercicio de lo pedagógico en tanto que dispositivos coyunturales para la producción de espacios de experimentación de lo subjetivo como práctica estética.
The main purpose of this Ph.D. thesis is to set the theoretical ground for rethinking the constitution of the contemporary subject through an analysis of the relationship between experience and contemporary art. Taking this relationship as a starting point, it deals with the transformations of the body actuated during the last decades by the art practice. It resorts for conceptual support to the theoretical writings of Michel Foucault and Gilles Deleuze, in order to call in question the domain of perception, the aesthetic experience, and the constitution of the contemporary subject. The thesis reflects on the production of knowledge involved in the perception of the subject, which configures his body as a terrain for experience, and creates several "subject-forms". It also meditates on the development of different ways of life from an aesthetic, ethical and political point of view. It intends to interrogate the aesthetic experience that constitutes the contemporary subject through an explanation of the ethical and political dimension of contemporary art practice.
This study is divided into three parts. The first one takes into account the writings of Foucault and Deleuze to set the theoretical frame for dealing with different patterns of experience and aesthetic practice, and with the objects and discourses involved in the constitution of the subject. The second one applies this frame to the analysis of some art works that reflect on the body experience. The third part presents the results of an empirical research conducted in workshops for students organized by some Barcelona art institutions, and shows evidence of the institutions' difficulties to create pedagogical practices coherent with the aesthetic practices promoted by them. Engaging in the project of a "pedagogical theory of the affections", the thesis delineates a pedagogical space capable of incorporating the ways and the action strategies characteristic of contemporary art. For that purpose it suggests setting off a pedagogical practice based on the experimentation of subjective production as an aesthetic practice.
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Adendorff, Adele. "Nomadic figurations of identity on the work of Berni Searle." Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-12072005-161121.
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Brunet-Georget, Jacques. "La modification du corps : pour une lecture critique de la psychanalyse." Bordeaux 3, 2010. http://www.theses.fr/2010BOR30057.
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Cette recherche a pour objet les modifications du corps, qu’elles soient présumées involontaires ou volontaires, telles que l’appréhende la psychanalyse,d’inspiration essentiellement lacanienne, dans ses dimensions tant théorique que clinique. D’un point de vue méthodologique, cet objet est pris dans une relation àdeux bandes entre philosophie et esthétique. D’une part, il s’agit de recourir aux outils critiques de la philosophie (Deleuze et Guattari, Judith Butler) pour interroger l’impensé et les présupposés normatifs du regard psychanalytique sur le corps ; et ce tout en laissant les catégories de la rationalité philosophique se modifier sous la pression de certains résultats de la psychanalyse. D’autre part, la référence à l’art (littérature, arts visuels, cinéma, performances corporelles) est utilisée comme une pierre de touche et un foyer de réinvention de la conceptualité analytique ;réciproquement, les investigations cliniques et leur formalisation amènent à redéfinir et à déplacer des cadres fondamentaux du discours esthétique (représentation, surface, forme, sublimation …). Comme fil directeur et hypothèse de recherche, nous déployons les harmoniques du concept de « sinthome », extrait par Lacan d’une réflexion sur l’art et l’écriture, pour cerner les conditions de l’invention subjective dans sa dimension corporelleThis research deals with body modifications, whether given as intentional or not, just as psychoanalysis, when essentially considered in its Lacanian stream, looks upon them in their as well theoretical as clinical meaning. From the methodological point of view, this issue gets involved in a twofold relation between philosophy and aesthetics. On the one hand, we intend to resort to the critical tools brought by philosophers (Deleuze & Guattari, Judith Butler) in order to question the unthought and normative presuppositions that underlie the psychoanalytical viewpoint on body ; in the same time, this process lets the rational categories evolve under the pressure of some specific psychoanalytical results. On the other hand, the reference to art (literature, visual arts, cinema, body performances) will be used as touchstone and source for the reinvention of the analytical conceptual network ; conversely, the clinical investigation and formalisation lead to redefine and to shift the basic frameworks of aesthetic discourse (representation, surface, form, sublimation…). As main thread and research hypothesis, we explore the harmonics of the « sinthome », a concept extracted by Lacan from his thoughts about art and writing, so as to comprehend the conditions of subjective invention in its bodily dimension
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Brown, Emilie Sayward. "Bounded Surface." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1331.
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The relationship between surface, perception, and structure has occupied my graduate studies. Locating, transforming, and transcending the surface requires play with perceptive abilities not only of vision, but of touch, hearing, and the other senses as well. How do the interactions of sense with the qualities of a surface determine our perception of the world? What role does the extension of the senses play in one's ability to perceive surface and structure? Using sense information gleaned from surfaces, the tectonics of our world are made visible. Might this relationship be played backwards as well? Composed structures produce surfaces upon which limina can be sensed.This written accompaniment to the thesis works is intended to continue the exploration of the surface/ sense/ structure relationship. With the visual work as a basis, each section consists of two parts. This structure is a tool for producing sense information for the viewer concerning the visual work.The first part serves as a bridge between the particular visual work and the second part. Consisting of a page or so of text, the first part of each section is also intended to set a tone or position the reader for the second part. The second part is more formal and speaks about the ideas behind the produced object, and for the most part could be applied to any works in this thesis. My desire is that the adjacency of the pieces in each section will create a friction of sorts an awareness of the surface between the two writings, and perhaps, between the writing and the objects.
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Finichiu, Ana-Alice. "Territoires entre-deux: agencements, biopolitique et junkspace." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209210.
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(résumé en français)Le diagnostic de Rem Koolhaas sur les métropoles actuelles montre une ville générique, sans fin, sans identité, sans passé, sans rues, la seule activité qui reste est le shopping et la condition « in-transit » devient universelle. À cette analyse manque une partie très importante, la condition biopolitique de la métropole, qui expliquerait plusieurs des caractéristiques de ce Junkspace, comme le fait qu’il contient la possibilité de résistance face au générique.
À la lumière de ce constat et suivant les directions de pensée que Gilles Deleuze et Félix Guattari ouvrent dans Mille Plateaux, cette thèse propose d’identifier les intervalles témoignant de la dimension biopolitique du Junkspace au travers d’une mobilisation de la théorie des agencements comme hypothèse pour la théorie architecturale et urbaine. Le postulat général est que ces intervalles seraient des territoires entre-deux qui fonctionneraient comme des laboratoires d’agencements témoignant d’une pratique architecturale politique redéfinissant le rôle même de l’architecte.
Trois axes de recherche sont déployés. Le premier interroge la pertinence d’une pensée architecturale en termes d’agencements dans le contexte des transformations actuelles des territoires. À la suite d’un croisement avec la pensée de Deleuze et Guattari l’architecture se comprend dans son processus d’agencement et réagencement. Le second axe interroge la dimension biopolitique du Junkspace identifiant les points critiques de ses agencements et évaluant le paradoxe de l’entre-deux. Le troisième axe met à l’épreuve le potentiel des territoires entre-deux de créer des opportunités pour de nouvelles configurations spatiales.
(english abstract)
Rem Koolhaas’s diagnostic of the modern metropolis shows a generic city with no end, no identity, no past, no streets where the only activity remaining is shopping and the « in-transit » condition is becoming universal. An important part is missing from this analysis: the biopolitical condition of the metropolis, that could explain a number of Junkspace’s characteristics, like the fact that it contains the possibility to resist the generic condition.
In the light of this review and in accordance with the philosophical directions that Gilles Deleuze and Félix Guattari draw in A Thousand Plateaus, this research intends to identify the intervals witnessing the biopolitical dimension of Junkspace by rallying the assemblage theory as hypothesis for the architectural and urban theory. The general postulate is that these intervals are in-between territories functioning as laboratories of assemblages that show a political and resistant architectural practice redefining the very part of the architect.
Three lines of research are deployed. The first one questions the relevance of an architectural assemblage thinking in the context of the current territorial transformations. Operating a crossing with Deleuze and Guattari’s thought, architecture is understood as a process of assembling and re-assembling. The second line of research is questioning the biopolitical dimension of Junkspace identifying the critical points of its assemblages and evaluating the in-between paradox. The third research line is testing the in-between territories potential to create opportunities for new spatial configurations.
Doctorat en Art de bâtir et urbanisme
info:eu-repo/semantics/nonPublished
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Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.
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Le philosophe artiste est une figure fantasmée ou désavouée. Par sa seule possibilité, il représente l’impossible frontière entre le discours philosophique et la création artistique. Bien qu’il invoque cette figure polémique, Nietzsche n’a pas été en mesure de fonder le philosophe artiste, mieux, il l’abandonne au profit d’un Dionysos ressuscité, plus à même de surmonter la confrontation avec Apollon. Or, voilà une figure orpheline qui ne semble plus que renvoyer à une nostalgie romantique et idéale où la philosophie, enfin, partagerait ses objets privilégiés ainsi que ses propres méthodes d’analyses avec la pratique artistique. Pourtant la question mérite d’être posée : par quelles modalités le philosophe artiste serait en droit de porter ensemble la philosophie et l’art ? La présente thèse tente de réintroduire ce problème pour le moins « éternel » en enquêtant pas-à-pas sur les lignes de tension typiques que cette figure met en jeu : la forme et le contenu ; la métaphysique et le phénomène ; le langage et la métaphore. De même, si Nietzsche est l’objet central de la recherche, nous évoquerons toutefois d’autres philosophes non moins typiques, comme Merleau-Ponty ou Deleuze, ainsi que Spinoza ou Aristote. Toutefois, il ne s’agit pas de ressaisir encore une fois ces problématiques proprement philosophiques, leur réintroduction doit s’éprouver dans la pratique artistique. La thèse envisage donc, à chaque fois, une issue par la création artistique, au lieu de tenter vainement d’élire une figure sans maître et sans limite, la thèse exposera des créations chorégraphiques originales. Ces créations ont été produites en parallèle avec la recherche, elles ont donné lieu à des œuvres singulières qui ont été préoccupées par les mêmes problématiques que la thèse. Elles confèrent à l’étude le degré de plasticité dont l’exposé proprement philosophique pouvait manquer. De plus, elles abolissent la frontière, car elles subissent les mêmes contraintes que celle de l’exposé, puisque Panopticon interroge le panoptisme étudié dans Surveiller et punir de Foucault, Amor fati, le concept de l’éternel retour selon Nietzsche ; être au monde, reprenant le problème de la sensibilité de Merleau-Ponty ; et enfin, L’éthique s’astreignant à réinvestir d’un point de vue sensible l’architecture de l’œuvre axiomatique de Spinoza. N’était-ce pas cela le sens du philosophe artiste ? Expérimenter, éprouver pour en étudier les effets ?The philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
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Odendaal, Marié Antoinette. "Visual strategies in video art : the simulation of traumatic memories." Diss., 2021. http://hdl.handle.net/10500/27613.
Full textAbstract:
This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei
Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events.Art and Music
M.V.A.
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Pope, Doug. "Vibrations & disruptions: a reading based on Gilles Deleuze Concerning motion in the art work of Rita Letendre, Serge Lemoyene and Claude Tousignant." Thesis, 2007.
Find full textAbstract:
This thesis examines the theme of motion in art, focusing on three painters from Québec and the work they produced during the 1970s. Rita Letendre paints the motion of light, the refraction of beams, and the bending of space. Light appears in her images as something that is ever-changing, both hard and soft, fast and slow, present and absent. Claude Tousignant paints the gong-like vibration of colour waves, using contrasts of colour to divide and expand space. His work breaks down traditional concepts of stability and singularity, using polyphonic rhythms and stereo images to insist on double readings and multiple reactions. Serge Lemoyne paints movement of bodies as well as movement through bodies. Accidental streams of paint betray the artist's presence, giving his images a nervous vitality and making them appear like works in progress. Motion brings about change and change is something people try to manipulate to their advantage, either entrenching or uprooting positions. To analyze these strategic repositions, I turn to the French philosopher, Gilles Deleuze. Several of his concepts, such as affect, Anti-Oedipus, the Body without Organs, difference and repetition, nomads, the diagram, the refrain, and deterritorialization, help to redefine the way we think about boundaries and moving bodies. These concerns coincide with explorations along similar lines by the artists in my study, artists who push at the boundaries of their medium to create questions and to expand into areas where new discoveries can be made.
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Turpin, Stephen. "Aesthetics of Expenditure: Art, Philosophy, and the Infinite Faculty." Thesis, 2010. http://hdl.handle.net/1807/24901.
Full textAbstract:
The dissertation re-examines the philosophy of Georges Bataille within the context of post-Kantian aesthetics and argues for a re-evaluation of Bataille’s notion of expenditure [depenser] within this context. The dissertation argues further that the artistic practice of Robert Smithson is an exemplary case of an ‘aesthetics of expenditure.’ It is our contention that Bataille’s cosmic-energetic philosophy finds a complementary material expression in Smithson’s abstract geology and its confrontation with post-Kantian aesthetics. We will argue that this occurs through Smithson’s varying strategies, which are grouped conceptually according to the broader logic of their expression:seriality, sedimentality, monumentality, and meandering. While Smithson’s own references to Bataille in the early 1970s are discussed in detail, it is not our position that Smithson was enacting Bataille’s philosophy ‘aesthetically’; rather, by reading Bataille’s evaluation of Kant’s aesthetics and teleology in relation to Smithson’s artistic practice, we emphasize instead that the politics of disgust shared by both figures advance a radical decentring and repositioning of the human in relation to
planetary and geological forces. If, as geologists now agree, our present age is
that of the Anthropocene1, our argument is that Bataille and Smithson anticipate
this precarious condition analytically, and, perhaps more importantly, that their analysis suggests further important diagnostic considerations at the level of social organization and political composition that might help defer, if not entirely prevent, the catastrophic end of this all-too-human period.
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Davre, Amandine. "Multiplicité et sensation dans l'oeuvre d'Aida Makoto : une approche schizo-analytique." Thèse, 2015. http://hdl.handle.net/1866/13660.
Full textAbstract:
La question posée dans ce mémoire de recherche concerne l’artiste contemporain japonais Aida Makoto, comme figure provocante et ironique, remettant en question les appareils de répression et d’aliénation de la société capitaliste japonaise. L’objectif de ma réflexion est de montrer l’apport de la schizo-analyse dans l’analyse d’œuvres plastiques comportant des prédispositions à l’utilisation de celle-ci. À travers les œuvres de l’artiste Aida Makoto où une multiplicité de corps emplit l’espace de la toile, et à partir des concepts de multiplicité et de sensation théorisés par Gilles Deleuze et Félix Guattari, la recherche apportera une seconde lecture aux œuvres de cet artiste en mettant en avant les aspects révolutionnaires de sa création artistique. Constitué de deux chapitres, le mémoire porte dans un premier temps sur la picturalité de l’œuvre, d’ordre technique, esthétique et éthique, en mettant en avant les composés de sensation présents sur la toile, ceci afin, dans un second temps, d’appréhender la figuration, de la visagéité à la multiplicité, comme aspect central de l’œuvre. Ainsi, la Figure, au sens deleuzien du terme, permettrait à l’artiste Aida Makoto d’entamer une fuite schizophrénique à l’occasion de laquelle il pourra créer à l’abri de toute répression ou normalisation de ses machines désirantes par la société capitaliste japonaise.The question posed in the research concerns the contemporary Japanese artist Aida Makoto, as a provocative and ironic figure, challenging the machinery of repression and alienation of the Japanese capitalist society. The purpose of my reflection is to show the contribution of schizoanalysis in the analysis of visual artworks. Through the artworks of the artist Aida Makoto, where a multiplicity of bodies fill the space of the canvas, and from the concepts of multiplicity and sensation, theorized by Gilles Deleuze and Félix Guattari, this research will bring a second reading to Aida’s works highlighting the revolutionary aspects of his artistic creation. Constituted of two chapters, the thesis focuses mainly on the pictoriality of the work from technical, aesthetic and ethics points of view, emphasizing the compounds of sensation present on the canvas, in order to, secondly, understand the figuration of faciality to multiplicity as a central aspect of the work. Thus the Figure, in the deleuzian sense, would allow the artist Makoto Aida to start a schizophrenic escape during which he can create freely from repression and normalization of desiring machines in the Japanese capitalist society.
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Bordeleau, Erik. "[E]scape : anonymat et politique à l'ère de la mobilisation globale: passages chinois pour la communauté qui vient." Thèse, 2009. http://hdl.handle.net/1866/3242.
Full textAbstract:
Le thème de la mobilisation totale est au cœur de la réflexion actuelle sur le renouvellement des modes de subjectivation et des manières d’être-ensemble. En arrière-plan, on trouve la question de la compatibilité entre les processus vitaux humains et la modernité, bref, la question de la viabilité du processus de civilisation occidental. Au cœur du diagnostic: l’insuffisance radicale de la fiction de l’homo oeconomicus, modèle de l’individu privé sans liens sociaux et souffrant d’un déficit de sphère. La « communauté qui vient » (Agamben), la « politisation de l’existence » (Lopez Petit) et la création de « sphères régénérées » (Sloterdijk) nomment autant de tentatives pour penser le dépassement de la forme désormais impropre et insensée de l’individualité. Mais comment réaliser ce dépassement? Ou de manière plus précise : quelle traversée pour amener l’individu privé à opérer ce dépassement?
Ce doctorat s’organise autour d’une urgence focale : [E]scape. Ce concept suggère un horizon de fuite immanent : il signe une sortie hors de l’individu privé et trace un plan d’idéalité permettant d’effectuer cette sortie. Concrètement, ce concept commande la production d’une série d’analyses théoriques et artistiques portant sur des penseurs contemporains tels que Foucault, Deleuze ou Sloterdijk, l’album Kid A de Radiohead ainsi que sur le cinéma et l’art contemporain chinois (Jia Zhangke, Wong Kar-Wai, Wong Xiaoshuai, Lou Ye, Shu Yong, Huang Rui, Zhang Huan, Zhu Yu, etc.). Ces analyses sont conçues comme autant de passages ou itinéraires de désubjectivation. Elles posent toutes, d’une manière ou d’une autre, le problème du commun et de l’être-ensemble, sur le seuil des non-lieux du capitalisme global. Ces itinéraires se veulent liminaux, c’est-à-dire qu’ils se constituent comme passages sur la ligne d’un dehors et impliquent une mise en jeu éthopoïétique. Sur le plan conceptuel, ils marquent résolument une distance avec le paradigme de la politique identitaire et la critique des représentations interculturelles.The theme of total mobilization is central to the contemporary reflection on the renewing of subjectivation processes and ways of being-together. In the background, we find the question of the compatibility between the human vital processes and modernity, or in other words, the question of the viability of Western civilization. At the core of the diagnosis: the radical insufficiency of the homo oeconomicus’s fiction, model of the private individual without meaningful social links and suffering from a sphere deficit. The “coming community” (Agamben), the “politization of existence” (Lopez Petit) and the creation of “regenerated spheres” (Sloterdijk) name as many attempts to think how to go beyond the henceforth improper and senseless form of individuality. But how are we to realize this overcoming? Or more precisely: which crossing to bring the private individual to operate this overcoming? This work is organized around a focal urgency: [E]scape. This concept suggest an immanent horizon of flight: it signs a way out of the private individual and draws a plan of ideality allowing to effectuate this exit. Concretely, this concept commands the production of a series of theoretical an artistic analysis of contemporary thinkers like Foucault, Deleuze and Sloterdijk, of Radiohead’s Kid A Album, and of different Chinese contemporary filmmakers and artists (Jia Zhangke, Wong Kar-Wai, Wong Xiaoshuai, Lou Ye, Shu Yong, Huang Rui, Zhang Huan, Zhu Yu, etc.) These analyses are conceived as passages or itineraries of desubjectivation. They all posit, in one way or the other, the problem of the common and of the being-together, on the threshold of global capitalism’s non-places. These itineraries are meant to be liminal, i.e. they constitute as many passages on the line and imply an ethopoietic mise en jeu. Conceptually speaking, they mark a distance with the identity politics paradigm and the critics of intercultural representations.
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Opheim, David W. "Conflict inhabitation: an emerging deleuzoguattarian inspired conflict studies reterritorialized assemblage." Thesis, 2019. http://hdl.handle.net/1828/10700.
Full textAbstract:
Utilizing the lexicon of the French experimental thinkers Gilles Deleuze and Felix Guattari, research is engaged which indicates that their insights are compatible with and augmentative to the field of Conflict Studies. Specifically, four recognized conflict management approaches, which include the concepts of negotiation, the transformation of the conflict, narrative, and the transformation of the conflicted parties, are populated via an emerging Deleuze and Guattari inspired modus operandi. This process has resulted in an original new term, Conflict Inhabitation, which proposes that the conflicted parties recognize, to their mutual benefit, the centrality of difference to possibility and the acknowledgement of existence as dynamically becoming. This adventure is contextualized utilizing a Personal Narrative Autoethnographic Methodology which systematically engages the intensity of what it means to reside as a person in midst of the human induced Global Warming Climate Change experience during the Anthropocene Epoch.Graduate
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Dannelly, David. "Secondary World: The Limits of Ludonarrative." Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6082.
Full textAbstract:
Secondary World: The Limits of Ludonarrative is a series of short narrative animations that are a theoretical treatise on the limitations of western storytelling in video games. The series covers specific topics relating to film theory, game design and art theory: specifically those associated with Gilles Deleuze, Jean Baudrillard, Jay Bolter, Richard Grusin and Andy Clark. The use of imagery, editing and presentation is intended to physically represent an extension of myself and my thinking process and which are united through the common thread of my personal feelings, thoughts and experiences in the digital age.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer Track