Journal articles on the topic 'Deleuze, Gilles Views on art'
To see the other types of publications on this topic, follow the link: Deleuze, Gilles Views on art.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Deleuze, Gilles Views on art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Stuhr, John J. "Radical Empiricism: William James and Gilles Deleuze." Contemporary Pragmatism 18, no. 4 (November 29, 2021): 370–92. http://dx.doi.org/10.1163/18758185-bja10026.
Full textAbstract:
Abstract Both William James and Gilles Deleuze labeled their philosophies "radical empiricism." In this context, this essay explores the similarities and differences between James's radical empiricism (particularly as it is present early inches Principles of Psychology) and Deleuze's "transcendental empiricism" (particularly as set forth in The Logic of Sense). These accounts then inform a view of philosophy understood as a creative art. This art demands flexible habits--what James termed "genius"--in a changing world. Accordingly, radically empirical accounts of creativity and genius are sketched.
2
Konstantinov, Mihael. "Juri Lotman, Gilles Deleuze and their approaches to cinema: Points of intersection." Sign Systems Studies 48, no. 2-4 (December 31, 2020): 392–414. http://dx.doi.org/10.12697/sss.2020.48.2-4.10.
Full textAbstract:
Engaging with the methods of studying contemporary digital audiovisual art is a dominant topic in contemporary theories of art. Against this background, the article offers a view onto some aspects of Juri Lotman’s and Gilles Deleuze’s studies on the cinema.
As a rule, contemporary studies of digital audiovisual art take place in the context of interdisciplinary studies. One of the methodological principles of such studies consists in adopting a structural and semiotic approach. As of today, this methodological approach to studying audio-visual art is most developed in semiotics of the cinema, which is why in this article visual semiotics in general is viewed through semiotics of the cinema (proceeding from the approach of Juri Lotman). Also, the philosophical understanding of the nature of the cinema offered by Gilles Deleuze has proven fundamental for the study of contemporary audio-visual art.
The two authors were contemporaries, but represented different scholarly paradigms: while Juri Lotman was an adherent of structuralism, Gilles Deleuze was a poststructuralist who criticized the structuralist approach. Yet despite this principal difference, both scholars still arrived at similar conclusions as concerns several questions regarding the understanding of the cinema and its very nature. In the present paper I focus on the features of these authors’ approach to spatial and temporal relations in the cinema, audiovisual relations in film as a heterogeneous form of the work of art, virtuality and mythologism in the viewer’s perception of cinema.
The differences and similarities in academic approaches to cinema, developed by Lotman and Deleuze, indicate a common direction in the development of the cinema and visual arts theory, which seems relevant for the study of contemporary audio-visual arts.
3
Duffy, Simon. "The Difference Between Science and Philosophy: the Spinoza-Boyle Controversy Revisited." Paragraph 29, no. 2 (July 2006): 115–38. http://dx.doi.org/10.3366/prg.2006.0012.
Full textAbstract:
This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each correspondent. Commentators have tended to focus on one or the other of these themes in order to champion either Boyle or Spinoza in their assessment of the exchange. This paper draws upon the resources made available by Gilles Deleuze and Felix Guattari in their major work What is Philosophy?, in order to offer a more balanced account of the exchange, which in its turn contributes to our understanding of Deleuze and Guattari's conception of the difference between science and philosophy.
4
Vatovec, Matej T. "Nota Bene. Anti-representation enters the theatre." Maska 28, no. 157 (October 1, 2013): 128–40. http://dx.doi.org/10.1386/maska.28.157-158.128_1.
Full textAbstract:
This article deals with the problem of artistic representation in theatre. It explores the practice of the Italian actor and director Carmelo Bene, which virtually coincides with the theoretical (or philosophical) thought of Gilles Deleuze and his philosophy of difference. The author tries to show the move from classical theatre representation towards the critical staging that overturns the theatre practice, actualizing at once the 'philosophy of difference" in art. In the author's theoretical view, this shift represents the essence of artistic activity - the so-called "de-equalisation" or denunciation of common sense'.
5
Khamari, Zied. "Politicizing flight in Edward Albee’s seascape." Linguistics and Culture Review 5, no. 1 (February 24, 2021): 10–19. http://dx.doi.org/10.21744/lingcure.v5n1.150.
Full textAbstract:
In recent years, scholars and critics have become increasingly interested in the view that art is a means to escape from the existent reality and the difficulties of modern civilization. Many writers emphasized in their literary works the need to be emancipated from the restrictions of modern society and underlined the idea that flight is the ultimate way to avoid the complexities of contemporary life. Edward Albee, for example, addressed the issue of flight in his drama, particularly the sociopolitical and artistic scopes of escape. In his Seascape, Albee presents a multifaceted perception of flight juxtaposing the social with the literary and the political with the artistic. In the postmodern political thought too, there is a similar tendency that valorizes the struggle for the liberation of the individual from all forms of repression and domination exerted by sociopolitical forces. Gilles Deleuze & Félix Guattari (2005), for instance, criticize the constraints and rules that power authorities use to control the individual and call instead for freeing humans from all authoritarian policies. This paper, then, seeks to examine Albee’s staging of flight from the Deleuzo-Guattarian perspective in an attempt to elucidate his complex yet refined dramatization of escape in his play Seascape.
6
Yebra Pertusa, José María. "Retro-Victorianism and the simulacrum of art in Will Self's Dorian: An imitation." Revista Alicantina de Estudios Ingleses, no. 23 (December 15, 2010): 231. http://dx.doi.org/10.14198/raei.2010.23.13.
Full textAbstract:
This essay aims at exploring Will Self’s novel Dorian: An Imitation (2002) as a postmodernist revision of Oscar Wilde’s celebrated The Picture of Dorian Gray (1891). Exceptional for ones, immoral and shameful for others, Dorian: An Imitation fosters an intertextual relation with the late-Victorian hypotext whereby both texts are transformed out of a refractory process. Like its predecessor, Self’s novel is primarily interested in aesthetic issues. In this light, my main concern consists in analysing the artistic discourses that Dorian: An Imitation reflects and deflects in the era of simulation. Likewise, I examine how the novel delves into the problematic relationship between “reality” and “fiction”, original and simulacra. At the turn of the millennium, when virtual reality/ies are generated by computers, literature has a challenge which, in my view, Self’s novel deals with. Thus, from the theories of simulation proposed by Jean Baudrillard and, to a lesser extent, Gilles Deleuze, my essay confronts Dorian as a valuable text: it adapts the discourse of new technologies to literary language; it goes into the postmodernist ontological crisis; and, finally, it opens up the debate of aesthetic interaction between the canon and new literatures.
7
Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.
Full textAbstract:
AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.
8
Koutsourakis, Angelos. "Militant Ethics." Cultural Politics 16, no. 3 (November 1, 2020): 281–302. http://dx.doi.org/10.1215/17432197-8593494.
Full textAbstract:
The publication of Rainer Werner Fassbinder’s play Der Müll, die Stadt und der Tod (Garbage, the City, and Death; 1976) constitutes one of the major scandals in German cultural history. The play was accused of being anti-Semitic, because one of its key characters, a real estate speculator, was merely called the Rich Jew. Furthermore, some (negative) dramatis personae in the play openly express anti-Semitic views. When asked to respond, Fassbinder retorted that philo-Semites (in the West Germany of the time) are in fact anti-Semites, because they refuse to see how the victims of oppression can at times assume the roles and positions assigned to them by pernicious social structures. Fassbinder’s vilification on the part of the right-wing press prevented the play’s staging; subsequently, in 1984 and 1985–86 two Frankfurt productions were banned due to the reaction on the part of the local Jewish community. A similar controversy sparked off by the film adaptation of the play Shadow of Angels by Daniel Schmid. During the film’s screening at the Cannes Film Festival the Israeli delegation walked out, while there was also rumor of censorship in France. Gilles Deleuze wrote an article for Le Monde titled “The Rich Jew” defending the film and the director. Deleuze’s article triggered a furious reaction from Shoah (1985) director, Claude Lanzmann, who responded in Le Monde and attacked the cultural snobbery and “endemic terrorism” of the left-wing cinephile community. Lanzmann saw the film as wholly anti-Semitic and suggested that it identifies the Jew—all Jews—with money. While the author acknowledges the complexity of the subject, he revisits the debate and the film to unpack its ethical/aesthetic intricacy and propose a pathway that can potentially enable us to think of ways that political incorrectness can function as a means of exposing the persistence of historical and ethical questions that are ostentatiously resolved. He does this by drawing on Alain Badiou’s idea of militant ethics and Jacques Rancière’s redefinition of critical art as one that produces dissensus.
9
Neupokoiev, Ruslan. "Existential Features of Variety Numbers With a Puppet." Culturology Ideas, no. 14 (2'2018) (2018): 205–15. http://dx.doi.org/10.37627/2311-9489-14-2018-2.205-215.
Full textAbstract:
The dramatic principles of the variety art puppet are fundamentally different from the principles of classical drama, the application of the principles leads to the creation of not concert numbers, but etudes, or small performances. At the empirical level, there is an understanding of the difference between the number and the etude, but the lack of a clear differentiation between them and the lack the principles by which the existence of the number becomes possible creates serious problems for practical work. Principles of classical drama, formulated in the era of the Enlightenment on the basis of the Aristotle’s unity of place, time and action, continue to dominate in the view of dramaturgy to this day. Search of the principles difference from classical ones leads us to turn to a non-classical picture of the world in general and to the philosophy of postmodernism in particular. So we apply the postmodern method of deconstruction to the subject of the research. Speaking about the binary opposition “etude and number”, let us pay attention to the broader opposition: “performance and concert”. It correlates directly with the concepts proposed by Gilles Deleuze and Felix Guattari, described in the work “Rhizome”: “tree” and “rhizome”. The linear narrative as a performance corresponds to the “tree” concept, the nonlinear narrative as a concert number corresponds to the rhizome. Linear narrative is created according to the classical principles of decalcomania, but nonlinear narrative is created according to the rhizomatic principles of cartography. “Tree” is centred on the root – ideas, “rhizome” is not centred. Rhizome is the sum of the relationship of its points. The idea in the rhizome is secondary and may arise as a result of the relationship between points of rhizome. Analysis and deconstruction demonstrate that the concert and the numbers from which it is composed, in contrast to the performance and the etude, are rhizomatic systems, and therefore require radically other principles of drama. Application to rysomatic systems of the cartography method proposed by Gilles Deleuze, when instead of proving meaning, meaning is born in the process of the research, may become the main method of non-classical drama. The subject of the study in the concert number is the behaviour of the function, which may be a metaphor of the phenomenon of life, embodied in a certain form in the non-inherent for this function of the proposed circumstances. The form-function and the proposed circumstances become points of the rhizome, and their interaction creates rise to the meaning of the concert number. Principles of rhizomatic drama, built on the cartography method, can be applied not only in the concert number with the puppet, but also throughout the art of the postmodern era.
10
Pakzad, Zahra. "Gilles Deleuze’s Point of View for Biographical Trends of Frances Bacon’s Ideas." Asian Social Science 12, no. 3 (February 23, 2016): 50. http://dx.doi.org/10.5539/ass.v12n3p50.
Full textAbstract:
<p>Francis Bacon as a precursor of modern painting, in addition to reputation in the fields of visual arts, has attracted the attention of many philosophers and scholars of the twentieth century due to its creative and controversial works. One of these philosophers is Gilles Deleuze. Gilles Deleuze is written numerous works in various fields ranging from photography and cinema to the history of philosophy. In a book entitled “Francis Bacon: The Logic of Sense”, Deleuze presented a new understanding of the concepts contained and hidden in Bacon’s paintings of Bacon. Seeking to explore Bacon’s position in painting and also Deleuze’s position in the philosophy, the current study intends to analyze Deleuze philosophical interpretation of the works of Bacon.</p>
11
Sauvagnargues, Anne. "Art mineur - Art majeur : Gilles Deleuze." Espaces Temps 78, no. 1 (2002): 120–32. http://dx.doi.org/10.3406/espat.2002.4188.
Full text
12
Cunha, Cláudia Madruga, and Leomar Peruzzo. "FILOSOFIA DIFERENÇA E PERFORMANCE ART RESSONÂNCIAS E RIZOMAS DO PERFORMER PROFESSOR." Revista Contrapontos 20, no. 2 (March 7, 2021): 412–27. http://dx.doi.org/10.14210/contrapontos.v20n2.p412-427.
Full textAbstract:
Neste artigo, aproximamos a filosofia de Gilles Deleuze e a deleuziana-guattariana, com o objetivo de buscar as ressonâncias filosofia diferença e arte da performance (GOLDBERG; GLUSBERG, COHEN) para fins de alcançar a análise de um processo de educação de professores no qual se fez sensibilização artística voltada aos professores de arte da cidade de Blumenau. Dividimos o texto em quatro abordagens: na primeira, tratamos das vizinhanças entre a filosofia de Gilles Deleuze e da performance arte; no segundo, desdobramos a relação estabelecida no primeiro percurso; no terceiro, apresentamos o “Rizoma” como prática metodológica performática; no último percurso, olhamos para as possibilidades de uma experiência em arte educação que quis desfazer de um corpo educado nos performers professores.
13
Teal, Randall. "Disciplining sensation: the architectural thinking of Reima Pietilä." Architectural Research Quarterly 23, no. 2 (June 2019): 127–36. http://dx.doi.org/10.1017/s1359135519000162.
Full textAbstract:
When pious critics criticized Millet for painting peasants who were carrying an offertory like a sack of potatoes, Millet responded by saying that the weight common to the two objects was more profound than their figurative distinction. As a painter, he was striving to paint the force or that weight, and not the offertory or the sack of potatoes.(Gilles Deleuze and Félix Guattari)Gilles Deleuze sought an ontology that did not, according to Todd May, ‘reduce being to the knowable’. Instead he sought a widening of thought that would allow one ‘to palpate the unknowable’. Key to this expanded field of thought is an ability to think the ‘material synthetic unity’ of ‘sensation’. Deleuze drew upon art in general, and painting in particular, to describe both the nuances of sensation and how to think sensation.
14
Wilmer, S. E. "Deleuze, Beckett, and the Art of Multiplicity." New Theatre Quarterly 38, no. 2 (April 20, 2022): 186–94. http://dx.doi.org/10.1017/s0266464x22000070.
Full textAbstract:
The relationship between Gilles Deleuze and Samuel Beckett has excited many scholars and continues to be of major interest today. This article explores the Deleuzian concept of multiplicity by considering quantitative and qualitative multiplicities in Beckett’s work. In differentiating between these two types, Deleuze and Félix Guattari indicate that extensive or quantitative multiplicities are essentially numerical and can be counted and represented in space. This form of multiplicity is seen in Beckett’s use of various lists of items such as Molloy counting his sucking stones or Watt considering how to dispose of Mr Knott’s food. Qualitative multiplicities, by contrast, cannot be counted because they differ in kind from one another. They are represented in duration and are here observed in the minorization of language in How It Is, among other examples. S. E. Wilmer is Professor Emeritus of Drama at Trinity College in Dublin. His most recent publications include Performing Statelessness in Europe (Palgrave Macmillan, 2018) and (with co-editor Radek Przedpełski) Deleuze, Guattari, and the Art of Multiplicity (Edinburgh University Press, 2020). He is currently co-editing the Palgrave Handbook of Theatre and Migration.
15
Xu, Li. "A Deleuzian Interrogation on the Interference of Art and Science." Research in Arts and Education 2022, no. 2 (December 22, 2022): 4–11. http://dx.doi.org/10.54916/rae.122975.
Full textAbstract:
Interdisciplinary research has become more mainstream in the academia as of late. Gilles Deleuze’s theories, especially his critical insight into the relationship between science and art may open new avenues for this kind of research. Deleuze’s ideas are significant, not only because he provides a framework for thinking about nomadic science, but he also clarifies possible criteria for assessing the nature of interdisciplinary experiments. Art “organizes” this chaos in a frame to form a composed chaos that becomes sensory/affective/intensive, but science “organizes” the same chaos into a system of coordinates and forms of measure that produce the appearance of “Nature.” Art and science, in this model, can intersect and intertwine, but Gilles Deleuze and Félix Guattari never suggest there can be a perfect synthesis between the two. Instead, we can associate the two kinds of creative activities in terms of neighboring planes: planes of composition for art and planes of reference for science. The goal of this paper is to argue that Deleuze and Guattari characterize the interaction between these two planes as one of interference rather than synthesis and shed new light on arts-based research in terms of the three interferences.
16
Maciel Júnior, Auterives, and Sérgio Franklin de Assis. "Imagem-pensamento: Deleuze e a função pedagógica do cinema ( Image-thougth: Deleuze and the pedagogical function of the cinema)." Estudos da Língua(gem) 12, no. 1 (June 30, 2014): 45. http://dx.doi.org/10.22481/el.v12i1.1239.
Full textAbstract:
Este artigo traça uma breve genealogia da função pedagógica da imagem cinematográfica. Partindo dos diálogos que o filósofo Gilles Deleuze criou com a sétima arte nas décadas de 70 e 80, o texto apresenta alguns dos conceitos criados por ele ao flagrar as profundas relações existentes entre cinema e pensamento. O objetivo é questionar a permanência da atividade cinematográfica como resistência em um momento de ampliação e solidificação da presença do audiovisual com funções sociais e de controle.PALAVRAS-CHAVE: Filosofia. Deleuze. Cinema.
ABSTRACTThis article outlines a brief genealogy of the pedagogical function in film image. Setting off from philosopher Gilles Deleuze’s dialogues with the seventh art in the 70's and 80's, the analysis employs some of the concepts coined by him when recognizing the deep relations between cinema and thought. The objective is questioning the permanence of filmmaking as resistance at a time of widening and solidifying presence of audiovisual with social and control functions.KEYWORDS: Philosophy. Deleuze. Cinema.
17
Moreira Soares, Maria João, and Clara Germana Gonçalves. "Gilles Deleuze and Bernini’s Bel Composto: From Theatricality to a Living-montage." Athens Journal of Architecture 8, no. 4 (October 5, 2022): 315–36. http://dx.doi.org/10.30958/aja.8-4-1.
Full textAbstract:
In The Fold (1988), Gilles Deleuze argues that if the Baroque period establishes the concept of total art or the unity of the arts, then it does so in extension. Each art form extends to another art form. To this “extensive unity” – this “universal theatre” – he adds the Elements; we can say the epigene. The philosopher writes: “[t]his extensive unity of the arts forms a universal theatre that includes air and earth, and even fire and water.” According to Giovanni Careri, writing in Bernini: Flights of Love, the Art of Devotion (1995), the interiors of Gian Lorenzo Bernini's are the most complete realisation of the bel composto. In these chapels, the interiors function as complete autonomous organisms in and of themselves. A theatrical dimension is associated with this autonomous operation. Careri adds another insight. He argues that the proliferations of composition components inherent in Bernini's chapels result in a cinematographic montage. Proceeding from Bernini’s bel composto and Deleuze’s thought, this paper proposes a new reading of the Baroque that is relevant to the present-day for architecture, taking the idea of theatrical scene as an organism supported by architecture and advancing to an idea of montage (beyond Careri’s) in which the spectator, the one who observes the small world, and the small world itself turning into an autonomous organism, makes the assemblage of the whole. A living-montage – an idea of architecture that is constantly interpreted, reinterpreted and recreated by the beholder.
18
Barrus, Edson. "SOCORRO ! O QUE FOI QUE EU FIZ ?" Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (February 16, 2021): 152. http://dx.doi.org/10.18542/arteriais.v5i9.9823.
Full textAbstract:
ResumoA partir do enunciado do carneiro carnívoro de Gilles Deleuze, o autor transita pelas experiências vivenciais no Espaço Experimental Rés do Chão, cujas atividades na Rua do Lavradio no Rio de Janeiro e suas desterritorializações, foram fundamentais para a cena artistica emergente nos início dos anos 2000.AbstractBased on Gilles Deleuze’s declaration of the carnivorous ram, the author explores Rés do Chão Experimental Space’s life experiences, whose activities in Rio de Janeiro, Lavradio St. and its deterritorializations, were fundamental for the emerging art scene of the early 2000s.
19
Filipović, Andrija. "From the sensation to the concept and back: Philo-aesthetic encounters between Pierre Boulez and Gilles Deleuze." New Sound, no. 48-2 (2016): 28–41. http://dx.doi.org/10.5937/newso1648028f.
Full textAbstract:
It is known that Deleuze and Guattari took the famous concepts of the smooth (lisse) and striated (strié) from the last chapter of A Thousand Plateaus from Boulez, who used them to describe the morphology of sound spaces, while Deleuze and Guattari used those concepts in an ontopolitical way - in order to invent an ontology abstract enough to describe the constitution of space and time within the conditions of the capitalist axiomatic and find the corresponding lines of flight. Another important point in the encounter between Boulez and Deleuze is the concept of difference. In Deleuze, difference is the key ontological concept, which (un)grounds the image of thought based on representation and leads to becoming the basic form of thinking the world. According to Campbell, in Boulez, difference appears in a number of ways - from heterophony as a virtual line, through an accumulative development to athematism as a virtual form. It should be mentioned that virtual (virtuel) is another important concept of Deleuze's philosophy, (un)grounded precisely through difference. Furthermore, there is a certain similarity between Boulez's concept of diagonal and Deleuze's and Guattari's concepts of deterritorialization and transversality in the sense that all three of these designate the creation of the new in movement between the already known coordinates. In the end, Deleuze translates Boulez's concepts of temps pulsée and temps non pulsée into the concepts of Chronos and Aion, where Aion designates the qualitative time of becoming, while Chronos the quantitative time of representative thought. The goal of this paper is to research these complex philosophical-aesthetic encounters between Boulez and Deleuze in order to shed light on the ways in which philosophical concepts are created based on art practices, and art practices on the basis of philosophy.
20
O’Sullivan, Simon. "Deleuze Against Control: Fictioning to Myth-Science." Theory, Culture & Society 33, no. 7-8 (July 9, 2016): 205–20. http://dx.doi.org/10.1177/0263276416645154.
Full textAbstract:
Through recourse to Gilles Deleuze’s short polemical essay ‘Postscript on Control Societies’ and the accompanying interview (in Negotiations) on ‘Control and Becoming’, this article attempts to map out the conceptual contours of an artistic war machine (Deleuze’s ‘new weapons’) that might be pitched against control and also play a role in the more ethico-political function of the constitution of a people (or, what Deleuze calls subjectification). Along the way a series of other Deleuzian concepts are introduced and outlined – with an eye to their pertinence for art practice and, indeed, for any more general ‘thought’ against control. At stake here is the development of a concept of fictioning – the production of alternative narratives and image-worlds – and also the idea of art practice as a form of myth-science, exemplified by Burroughs’ cut-up method. It is argued that these aesthetic strategies might offer alternative models for a subjectivity that is increasingly standardized and hemmed in by neoliberalism.
21
Borum, Peter. "The Notion of ‘Singularity’ in the Work of Gilles Deleuze." Deleuze Studies 11, no. 1 (February 2017): 95–120. http://dx.doi.org/10.3366/dls.2017.0253.
Full textAbstract:
In Deleuze, singularity replaces generality in the economy of thought. A Deleuzian singularity is an event, but the notion comprises the effectuation of the event into form. The triptych émission–distribution–répartition itself distributes the dimensions of the passage from form-giving event to topological morphology. The Deleuzian concept of intensity allows thinking both pre-individuality and the rhizomatic connection of singularities on the metaphysical surface of structure. Reflections upon the philosophy of differential calculus allow for a coherent scaffolding reaching from pre-individual intensity to specific individuality, in the passage from transcendental genesis to empirical morphogenesis. But if singularity as event is intensive, singularity as determinant of morphology – and hence, of structural metastability – is not. Although the differential scaffolding covers both intensive difference and extensive equality, and so the two sides of the notion of singularity, the concept of intensity remains slightly displaced, rendering conceptually difficult not only the perception of intensity, but also the contemplation of individual duration, if viewed in the terms of genetic ‘indi-drama-different/ciation’. The essay concludes that it is art that may let us consciously contemplate our pre-individual differences.
22
Hetrick, Jay. "Deleuze and the Kyoto School II." Asian Studies 11, no. 1 (January 10, 2023): 139–80. http://dx.doi.org/10.4312/as.2023.11.1.139-180.
Full textAbstract:
The aim of this paper is to bring Gilles Deleuze and the Kyoto School into an imaginary conversation around the idea of philosophy as a way of life, or what I call ethico-aesthetics. I first show how ethico-aesthetics in the Kyoto School modernizes the traditional notion of geidō, or ways of art, through the language of continental philosophy. Even though the discourse they construct in this respect remains less rigorous than that of the other domains of philosophy with which they engage, the ethico-aesthetic concepts of Nishida Kitarō, Nishitani Keiji, and Ōhashi Ryōsuke provide a starting point from which we might begin to piece together Deleuze’s seemingly random, but persistent and ultimately significant references to East Asian art and philosophy. I argue that Deleuze’s references to the Zen sage and poet-painter—in addition to his uses of the Stoics, Spinoza, and Nietzsche—are necessary to fully understand the immanent goal of his ethico-aesthetics. I conclude by demonstrating that, although there is no evidence that Deleuze was familiar with the Kyoto School, he unwittingly offers more complete and contemporary solutions to the ethico-aesthetic issues presented by some of its key thinkers.
23
Anstey, Josephine, and Roy Roussel. "Building Sensorium." International Journal of Art, Culture and Design Technologies 7, no. 2 (July 2018): 26–40. http://dx.doi.org/10.4018/ijacdt.2018070103.
Full textAbstract:
Gilles Deleuze assumes that the source of creativity/the new (as opposed to just the development of what already is implicit in existing things) lies outside conscious thinking. Deleuze argues that film mimics our automatic processing of visual input and therefore is able to intervene in this processing in ways that conscious thought cannot, at the level of the most basic sensory experience. Since computers can and already offer input to multiple senses, can they do similar work? The authors discuss Deleuze's approach to finding the difference between development and creativity via the analysis of film technology and ask whether anyone is using computers the way Deleuze conceives of those film-makers who are philosophic using film? The focus of this article is on creativity in the domain of art making.
24
Kügler, Peter. "Sense, Category, Questions: Reading Deleuze with Ryle." Deleuze Studies 5, no. 3 (November 2011): 324–39. http://dx.doi.org/10.3366/dls.2011.0024.
Full textAbstract:
Gilles Deleuze's notion of sense, as developed in Difference and Repetition and The Logic of Sense, is meant to be a fourth dimension of the proposition besides denotation, manifestation and signification. While Deleuze explains signification in inferentialist terms, he ascribes to sense some very unusual properties, making it hard to understand what sense is. The aim of this paper is to improve this situation by confronting Deleuzian sense with a more or less contemporary, but otherwise rather distant philosophical conception: Gilbert Ryle's theory of categories and category mistakes. The leading idea is that to understand the sense of a proposition regarding X is to know the category of the concept X, which requires that one knows which questions may appropriately be asked with regard to X. Thus, sense, category and questions are intimately related to each other. Finally, it seems to be consistent with Deleuze's views to assume that abstract signification is contextually generated by concrete sense.
25
Dackevičiūtė, Sigita. "Deleuze and Guattari’s Logic of Sensation in the Context of Contemporary Art." Problemos 100 (October 15, 2021): 180–90. http://dx.doi.org/10.15388/problemos.100.14.
Full textAbstract:
Deleuze and Guattari’s concept of art (the logic of sensation) has been interpreted in the context of the opposition between modernism and contemporary art, and then it is either attributed only to modernism, which gives priority to the aesthetic dimension of art, or it is argued that we must see its potential to create “new connections.” These opposing views are expressed by Stephen Zepke and Simon O’Sullivan. However, Deleuze and Guattari’s artistic sensation is not a sensory perception, it is the main concept of their logic of sensation, encompassing both the sensory and the conceptual-virtual dimensions. In the article, I seek to demonstrate that Deleuze and Guattari’s artistic sensation, encompassing both of these dimensions, relates to the general context of Deleuze and Guattari’s philosophy and resonates with the aesthetic and semantic dimensions of contemporary art projects. Discussing Thomas Feuerstein’s installation Prometheus Delivered I demonstrate in what ways the notion of the logic of sensation expands the field of the interpretation of this work of art.
26
Dinić-Miljković, Vesna. "The affect and its image in Gilles Deleuze's philosophy." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 1 (2021): 3–16. http://dx.doi.org/10.5937/zrffp51-28286.
Full textAbstract:
There is no perception without affection. This necessity comes from the very fact that perception measures our possible action upon things, and thereby, the possible action of things upon us. For the French philosopher Gilles Deleuze, affection occupies exactly this gap between the potentiality of action of the perceived objects and our virtual action upon them. This encounter between the affected body and the affecting body presumes the in-betweenness, an interval between a perception which is troubling in certain respects and a hesitant action. As opposed to emotion, which is directed toward a certain goal and demands actualization, affect precedes will, as a pre-personal intensity referring to the passage from one experiential state of the body to another. Influenced by Baruch Spinoza's concept of affect and Henri Bergson's thesis on movement that he considers the essence of cinema's movement-image, Deleuze creates his own theory of affect that finds its most obvious manifestation in the works of art. The artist creates affects, gives them to us, draws us into the compound, and makes us become with them. Deleuze's aesthetics produces the spectator's movement in-place through sensation. Through shapes and colours, the canvas vibrates, clenches or cracks open because it is the bearer of glimpsed forces. Like with Edward Munch's The Scream or Francis Bacon's Portrait of Pope Innocent X, the invisible forces become visible in themselves and thus the sensation becomes materialized right there on the canvas surface. In cinema, this materialization of sensation Deleuze recognized in the affection-image, abstracted from the causal and spatio-temporal relations to the images that surround it, and therefore open to a spiritual dimension. As power-quality, the affect gains its independence from the thing that expresses it and becomes an entity, a potentiality considered to itself.
27
Allen-Paisant, Jason. "Reading Wilson Harris with Gilles Deleuze: Carnival, or the novel as theatrical space." Journal of Commonwealth Literature 55, no. 2 (May 4, 2018): 294–308. http://dx.doi.org/10.1177/0021989418767492.
Full textAbstract:
This article is an attempt at reading Wilson Harris with Gilles Deleuze, considering how the latter’s writings on the image might produce a fresh understanding of Harris’s art of fiction. To do this, I highlight the interest that both Harris and Deleuze have in the theatre as a medium for illustrating their conception of the image in language and thought. Discussing mainly the novel Carnival, I show how Harris assimilates narrative to the theatrical medium itself as both a concrete and abstract space of spontaneous multiplicity, and relate this to Deleuze’s understanding of the image and of the text as objects of movement and of becoming. I also relate Harris’s art of fiction to Deleuze’s critique of conventional mimesis and its subject/object binarism, showing how codes and conventions of theatrical communication (and a readerly self-conscious perception of this) are injected into Harris’s narrative protocols, creating an aesthetic that communicates to or, more specifically, performs with, the reader in ways that challenge the conception of narrative as self-contained representation. In sum, this paper demonstrates the way in which Harris’s narrative evokes, and is evoked by, the play of theatre — in other words its quintessentially differential nature, through images that resist the very concept of representation.
28
Pyrhönen, Heta. "Ways of keeping love alive: Roland Barthes, George du Maurier, and Gilles Deleuze." Sign Systems Studies 36, no. 1 (December 31, 2008): 49–70. http://dx.doi.org/10.12697/sss.2008.36.1.04.
Full textAbstract:
The article examines Barthes’s A Lover’s Discourse (1977) in conjunction with du Maurier’s Trilby (1894) in order to present an argument about the similarities they share with the male masochistic fantasy as theorised by Deleuze in his Coldness and Cruelty (1989). Barthes’s insistence on the connection between art and love directs my approach. Trilby deals with love and aesthetics in the contexts of art, music, and narrative. The discourses of Trilby’s competing lovers over the same woman serve as a point of comparison against which I read Barthes’s dramatisation of a lover’s discourse. I argue that Barthes’s lover shares a number of central discursive figures with the Deleuzian masochistic lover. I examine Barthes’s suggestion about the tension between the non-narrative discourse of love and the metalanguage of conventional love stories. I focus on those figures in a lover’s discourse that Barthes identifies as keeping this discourse from turning into a love story. My argument is that many of these figures are among the hallmarks of the masochistic fantasy. In particular the formula of disavowal safeguards the lover’s discourse, hindering it from turning into a conventional narrative about love.
29
Tyutyunnik, Yulian G. "ART LANDSCAPE SCIENCE IN GEOGRAPHICAL DESCRIPTION." Географический вестник = Geographical bulletin, no. 3(58) (2021): 6–20. http://dx.doi.org/10.17072/2079-7877-2021-3-6-20.
Full textAbstract:
The paper deals with the history, current state and prospects of using the descriptive method in geographical science. We identify the goals, classify the methods, analyze the conditions of the application of literary techniques in geographical description; the transformations of these techniques, both occurring today and possible in the future, are also analyzed. The subject of geographical description is characterized, its distinctive features are specified. Based on the ideas of Gilles Deleuze, we offer a classification of the methods of obtaining geographical images using the techniques of fiction (image-picture, image-movement, image-crystal). Specific examples show the philosophical and theoretical potential of geographical description. The paper argues that geographical description, using literary techniques, not only has not outlived its usefulness but also has the prerequisites for further development as one of the methods of geographical science.
30
Williams, James. "If Not Here, Then Where? On the Location and Individuation of Events in Badiou and Deleuze." Deleuze Studies 3, no. 1 (June 2009): 97–123. http://dx.doi.org/10.3366/e1750224109000506.
Full textAbstract:
This paper sets out a series of critical contrasts between Alain Badiou and Gilles Deleuze's philosophies of the event. It does so in the context of some likely objections to their positions from a broadly analytic position. These objections concern problems of individuation and location in space-time. The paper also explains Deleuze and Badiou's views on the event through a literary application on a short story by John Cheever. In conclusion it is argued that both thinkers have good answers to the objections, but that they diverge on the ontological commitments of their definitions of the event.
31
Frølunde, Lisbeth, Christina Hee Pedersen, and Martin Novak. "Unravelling the Workings of Difference in Collaborative Inquiry." Departures in Critical Qualitative Research 6, no. 1 (2017): 30–51. http://dx.doi.org/10.1525/dcqr.2017.6.1.30.
Full textAbstract:
This article explores the collaboration among five Czech and Danish researchers across nations, languages, ages, and institutions. The ambition is to unravel and destabilize views on collaboration that tend to idealize collaborative processes and methodologies. We suggest difference as a principal generator of complexity and tension. Through an analysis of two memory-work stories, we show how dynamic forces of difference disturb ideals of collaboration and dialogue. In terms of theory, we draw on Bakhtinian dialogical conceptions of difference and on poststructuralist thinkers, including Bronwyn Davies, Gilles Deleuze, and Félix Guattari. We conclude with reflections on difference and power in collaborative processes.
32
Bueno, Claudio Celis. "From Spectacle to Deterritorialisation: Deleuze, Debord and the Politics of Found Footage Cinema." Deleuze and Guattari Studies 13, no. 1 (February 2019): 54–78. http://dx.doi.org/10.3366/dlgs.2019.0341.
Full textAbstract:
The aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord's practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore these two interpretations, this article uses Guy Debord's 1973 film The Society of the Spectacle as a case study. By focusing on this specific object, the two interpretations of the cinematic interval make it possible to compare two alternative ways of dealing with the representability – or unrepresentability – of capital, and hence to sketch two alternative views on the politics of found footage film practices.
33
Raza, Syed Sami. "Art, Philosophy and Cinematography: A Note on the Aesthetics Beyond Representation and Figuration." Global Digital & Print Media Review V, no. II (June 30, 2022): 53–63. http://dx.doi.org/10.31703/gdpmr.2022(v-ii).06.
Full textAbstract:
In his book Francis Bacon: The Logic of Sensation, Gilles Deleuze explores certain art techniques in the paintings of Francis Bacon to illuminate the politics of aesthetics. He demonstrates how some of those paintings allow us to move from the problematic field of (political)representation to the conditions of representations and from the field of reason to that of the logic of sensation. He demonstrates this by way of bridging the gap between modern art and philosophy. In my paper, I follow Delueze’s method and try to search for some more artistic techniques in Francis Bacon. Then I draw some parallels between these art techniques with the politics of aesthetics in the film genre by focusing on Tom Tykwer’s 1998 film Lola Rennt.
34
Iles, Anthony. "David Hammons meets Richard Serra downtown." Art & the Public Sphere 9, no. 1-2 (December 1, 2020): 107–17. http://dx.doi.org/10.1386/aps_00036_1.
Full textAbstract:
This article was originally presented at a seminar organized by Josephine Berry (2020) around the ideas of milieu and geoaesthetics, derived respectively from Michel Foucault (2009) and Gilles Deleuze and Félix Guattari (1999). In this account of a network of artworks, I will focus on direct reading of a significant conjunction between works by Richard Serra and David Hammons through an understanding of the political economy of New York at an important moment of transition. I develop the understanding of milieu derived from Michel Foucault with Henri Lefebvre’s concepts of the ‘production of space’ (1991) and the ‘reproduction of the relations of production’ (1976), operations by which capitalism survives its crisis of accumulation at a key conjuncture in the 1970s which has direct consequences for the works I discuss. Responding to the initial presentation context for this article, a seminar coordinated by Dr Josephine Berry, geoaesthetics, a concept derived by Berry from ideas of milieu and geoaesthetics, respectively, from Michel Foucault (2009) and Gilles Deleuze and Félix Guattari (1986) is grasped in the sense of art and aesthetics responding to the earth’s (adopting the same prefix as) geology, geography and geometry (ge) by offering a planetary reading of art or experience of art that is entwined with a consciousness of our planet as a totality, and perhaps galvanized by our increasing awareness of it as a finite resource. Geoaesthetics in this context is thought of as an aesthetics, an attempt to understand the experience of artworks in ways that render accessible the conditions of their making and witnessing in terms that are inseparable from the environments and conditions in which they are made and experienced.
35
Noland, Carrie. "Inheriting the Avant-Garde: Merce Cunningham, Marcel Duchamp, and the “Legacy Plan”." Dance Research Journal 45, no. 2 (August 2013): 85–121. http://dx.doi.org/10.1017/s0149767713000028.
Full textAbstract:
“Repetition is a necessary and justified conduct only in relation to that which cannot be replaced.” —Gilles Deleuze, Difference and Repetition How does one create a dance legacy? Or, in the case of Merce Cunningham, how does one create an avant-garde dance legacy? Can a corpus of controversial works and ideas be preserved for posterity without betraying the fundamental impulse of an intentionally self-exceeding experimental art? What can be preserved, archived, and bequeathed of a choreographer's work if that choreographer's project was precisely to generate what he had not done before?
36
Oliveira, Renan Carnaúba. "Arte e educação geográfica:." Revista Brasileira de Educação em Geografia 12, no. 22 (May 17, 2022): 05–24. http://dx.doi.org/10.46789/edugeo.v12i22.964.
Full textAbstract:
Neste trabalho procuro discutir as potencialidades da linguagem da Arte na educação geográfica a partir de uma experimentação com algumas obras do acervo permanente do MARCO (Museu de Arte Contemporânea de Mato Grosso do Sul) realizada com estudantes do Ensino Fundamental da Rede Pública Estadual do município de Fátima do Sul (MS). Além de estimular a participação ativa dos estudantes, dialogando sobre suas percepções e criando suas próprias obras, a experimentação também proporcionou o contato dos estudantes com uma parte da produção artística sul-mato-grossense. Utilizo as obras não apenas para ilustrar o conteúdo, mas para potencializar imaginações sobre o espaço. Baseio a discussão em conceitos propostos por autores como Doreen Massey (2008), Gilles Deleuze (2013), Felix Guattari e Suely Rolnik (2013), entre outros, referenciando a aproximação da Arte com a Geografia. Palavras-chave Linguagem da Arte, Educação geográfica, Imaginações espaciais. Art and geographical education: possibilities from artworks of the Contemporary Art Museum in Mato Grosso do Sul (MARCO) Abstract This paper look up to discuss the potentialities of the language of Art in geographic education from an experiment with some artworks from the permanent collection of Museum of Contemporary Art of Mato Grosso do Sul (MARCO) carried out with Elementary School students from the State Public Network of the city of Fátima do Sul (Mato Grosso do Sul State). Besides encouraging the active participation of students, talking about their perceptions, and creating their own works, the experimentation provided students with contact with part of the artistic production in the state of Mato Grosso do Sul. We use the artworks not only to illustrate the content, but also to enhance imaginations about space. We based the discussion on concepts proposed by authors such as Doreen Massey (2008), Gilles Deleuze (2013), Felix Guattari and Suely Rolnik (2013), among others, referencing our understanding of the approximation between Art and Geography. Keywords Language of Art, Geographic education, Space imaginations.
37
Marks, Laura U. "The Taming of the Haptic Space, from Málaga to Valencia to Florence." Muqarnas Online 32, no. 1 (August 27, 2015): 253–78. http://dx.doi.org/10.1163/22118993-00321p13.
Full textAbstract:
This essay proposes that an Islamic aesthetics and the modes of visuality to which they appeal can be characterized by the use of haptic space and abstract line, terms that Gilles Deleuze and Félix Guattari derived from the work of late nineteenth-century art historians. It argues that abstract line and haptic space traveled in ceramics on the Iberian Peninsula and in the western Mediterranean basin. I examine how Andalusian ceramics engage haptic space and abstract line, how Christian clients took up these designs, and how, in Spanish and Italian adaptations, haptic space and abstract line gradually deepened out and thickened up into optical representations. The essay also examines traveling concepts: gaze theory, from cinema studies to art history; and the haptic image, from art history to cinema studies.
38
Vallury, Raji. "On difference and repetition in cinematic adaptation: Bertolucci's Before the Revolution and Stendhal's The Charterhouse of Parma." Journal of Italian Cinema & Media Studies 8, no. 2 (March 1, 2020): 173–87. http://dx.doi.org/10.1386/jicms_00015_1.
Full textAbstract:
Abstract Critical reflections on the cinematic adaptation of literary texts are usually structured by the dialectics of fidelity and betrayal, identification and estrangement. Through a theoretical framework constructed by the concepts of Gilles Deleuze, Gérard Genette and André Bazin, my article interrogates the Oedipal model of imitation and rebellion used to understand an act of cinematic adaptation. Analysing the links between Bernardo Bertolucci's Before the Revolution (1964) and Stendhal's The Charterhouse of Parma (1838), I propose that cinematic adaptation may be understood as an engagement with a differential singularity; as the assemblage of a point of view in relation with another point of view. Adaptation is the creation and production of difference in concert with another difference, rather than the repetition of the same. Bertolucci's encounter with Stendhal expresses a type of historical consciousness; an expression that takes place on the planes of aesthetics and politics.
39
Schönher, Mathias. "Gilles Deleuze’s Philosophy of Nature: System and Method in What is Philosophy?" Theory, Culture & Society 36, no. 7-8 (February 14, 2019): 89–107. http://dx.doi.org/10.1177/0263276418820954.
Full textAbstract:
For its elliptical style, What is Philosophy? appears to be fragmentary and inscrutable, and its reception has been correspondingly contentious. Following an intimation by Gilles Deleuze himself, this article proposes that his final book, written in collaboration with Félix Guattari, contains a philosophy of nature. To address this proposition, the article begins by outlining the comprehensive system of nature set out in What is Philosophy?, defining it as an open system in motion that conjoins philosophy with the historical preconditions and intersects it with science and art. The article then addresses the precise method whereby the philosopher as an individual subject, emerging from nature, can succeed in becoming creative – that is, in creating concepts to bring forth new events. Finally, the brain turns out to be the pivot between the system and this method. What is Philosophy? thus presents an account of the brain based on a theory of the three specific planes of philosophy, science and art, and uses it to expand upon the idea of assemblage for a philosophy of nature.
40
García, Amanda Núñez. "Hybridising Knowledge: Some Considerations on the Epistemology of Contamination in the Works of Deleuze and Serres and Its Reception in Bio Art." Deleuze and Guattari Studies 14, no. 2 (May 2020): 299–318. http://dx.doi.org/10.3366/dlgs.2020.0403.
Full textAbstract:
In this article I investigate the necessarily interdisciplinary nature of our contemporaneity, from the perspective of works by Gilles Deleuze, Félix Guattari, Bruno Latour and Michel Serres. While we often find that academia, society and governments push us towards interdisciplinarity, it is also true that those same institutions and powers (and therefore the epistemological systems on which they are based), distance us from that purpose. Opposing this aporetic situation we come up against the Deleuzian concept of ‘contamination’, or the well-known ‘science of Venus’ concept of Michel Serres. In doing so, we attempt ‘to put the tracing back on the map’, as Deleuze and Guattari suggest, and try to see the epistemological becomings that we find in contemporary culture. The main indicators which we use to study these contaminations and hybridisations are cinema and Bio Art. In both cases we observe that the real creative production is closer to ‘contamination’ than to the ‘purification’ and deletion of metabolic and hybrid processes criticised by Bruno Latour.
41
Dédomon, Claude. "Les sept noms du peintre de Philipe le Guillou : Une écriture à l’épreuve de la « capture des forces » picturales." Voix Plurielles 16, no. 2 (November 29, 2019): 145–56. http://dx.doi.org/10.26522/vp.v16i2.2315.
Full textAbstract:
Cet article examine les degrés de picturalisation à l’œuvre dans Les sept noms du peintre de Philippe Le Guillou. À travers les dispositifs du diagramme et du triptyque (voir Logique de la sensation de Gilles Deleuze), Les sept noms du peintre de Philippe Le Guillou expose le geste pictural avec toutes ses forces constituantes. L’univers qui s’y construit est le lieu d’une narrativité picturale dont la logique se lit dans la capture, la condensation et l’expérimentation de la sensation. Cet art de faire relève d’un conservatisme idéologique et philosophique invitant, in fine, à la redécouverte d’une forme de symbolisme dans la littérature contemporaine.
42
Ballantyne, Andrew. "In a dark wood: dwelling as spatial practice." Architectural Research Quarterly 4, no. 4 (December 2000): 349–56. http://dx.doi.org/10.1017/s1359135500000439.
Full textAbstract:
In architecture the link between life and art can be so strong that one can see them as fused, as Heidegger did. We encounter buildings in connection with the life that inhabits them, but the relationship between building and life is not that of cause and effect. The building is a tool, for which a variety of uses might be found. Gilles Deleuze saw ideas as tools, and valued ‘nomadism’ – moving between sets of ideas. He deployed a rhetoric of mobility and invention that encourages the free play of ideas, while effectively resisting the lure of Heideggerís ‘blood and soil’ nostalgia.
43
Filipović, Andrija. "From transcendental idealism to transcendental empiricism and beyond: Kant, Deleuze and flat ontology of the art." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 147–56. http://dx.doi.org/10.5937/saj1502147f.
Full textAbstract:
In this paper I will show that the movement from Kant's transcendental idealism to Gilles Deleuze's transcendental empiricism and then to new materialisms and speculative realisms is what enables us to talk about the direct and non-mediated access to the thing in itself (or its dissolution). In other words, it's the change from the conditions of possible experience to the conditions of real experience that made possible current philosophical and theoretical discourses of materialisms and realisms. What is of particular interest for the purposes of this paper is how the change from conditions of possible to real experience relates to the current conceptualizations of art practices. More precisely, I will show how the ontology of art changed, or at least that there perhaps appears paradigm-shifting possibility of different aesthetics and ontologies of art, flat ontology being one of them, with the appearance of new materialisms and speculative realisms that were made possible by the change to the conditions of real experience.
44
Dirand, Armand. "De l’articulation entre art et philosophie : l’exemple des personnages conceptuels de Gilles Deleuze à Marilyn Manson." Philosophique, no. 15 (April 1, 2012): 147–63. http://dx.doi.org/10.4000/philosophique.704.
Full text
45
Burkhanova-Khabadze, Sasha. "Curatorial Ethics and Indeterminacy of Practice." Philosophies 5, no. 3 (September 18, 2020): 23. http://dx.doi.org/10.3390/philosophies5030023.
Full textAbstract:
This article defines “curatorial ethics” as a notion that has to be configured and constantly revisited by an independent curator throughout her practice. By inquiring into the personal motives, biases and drives, she would establish her own ethical position, convert it into a professional ethic and apply it to judge her own professional performance and her colleagues. Such perspective opposes the traditional understanding a professional ethic as a set of unitary guidelines to be passed to specialists (i.e., via education or early career). The notion of curatorial responsibility is redefined accordingly, and with conceptual inspiration from Gilles Deleuze and Karen Barad’s concepts of “becoming” (Deleuze) and “intra-action” (Barad). A curator is addressed as accountable for configuring her practice in response to agendas and actions of other parties involved in the art project. That is, for facilitating the co-constitution of individual subject positions and practices via opening up herself to the terrors and potentials of unprecedented self-transformation.
46
Neves, Rafael Dorneles, Elysangela Koglin Ulo Limachi, and Marcele Pereira da Rosa Zucolotto. "CriançARTE: cartografando processos e (des)construindo sentidos com “pessoas pequenas” / CriançaARTE: Mapping processes and (de)constructing meanings with “small people”." ID on line. Revista de psicologia 16, no. 63 (October 31, 2022): 363–81. http://dx.doi.org/10.14295/idonline.v16i63.3561.
Full textAbstract:
Resumo: O artigo apresenta o relato de uma experiência vivenciada em uma escola, por um grupo de estudantes de graduação em psicologia que, diante de uma proposta de extensão derivada da disciplina curricular, decidiram aproveitar a oportunidade para se lançar no campo e construir a partir dos encontros uma experiência cartográfica, princípio constituinte do rizoma, conceito nascido na botânica e importado por Gilles Deleuze e Félix Guattari para compor sua filosofia da diferença. Propomo-nos a fazer um relato tal como se estivéssemos a escrever em um diário de campo, cartografando os afetos que nos atravessaram, esboçando nossos encontros com o campo, com a equipe e as crianças da escola, alinhando nosso saber-fazer com as ideias de Deleuze e Guattari. Por fim, contamos acerca do andamento da oficina CriançARTE, suscitando reflexões acerca dessa produção coletiva que só foi possível por estarmos em constante atravessamento com um modelo rizomático-cartográfico de fazer pesquisa-intervenção.Palavras-chave: rizoma; cartografia; arte; criança. Abstract: The article presents the report of an experience lived in a school by a group of undergraduate psychology students who, faced with a proposal for an extension derived from the curricular discipline, decided to take advantage of the opportunity to launch themselves in the field and build from from the encounters a cartographic experience, constituting principle of the rhizome, a concept born in botany and imported by Gilles Deleuze and Félix Guattari to compose their philosophy of difference. We propose to make a report as if we were writing in a field diary, mapping the affections that crossed us, outlining our encounters with the field, with the team and the children of the school, aligning our know-how with the ideas by Deleuze and Guattari. Finally, we talk about the progress of the CriançARTE workshop, raising reflections about this collective production that was only possible because we were in constant crossing with a rhizomatic-cartographic model of doing research-intervention.Keywords: rhizome; cartography; art; child.
47
Žukauskaitė, Audronė. "Nomadic Performativity and the Immanent Ethics of Life." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 10. http://dx.doi.org/10.7146/nts.v27i1.24235.
Full textAbstract:
This essay discusses Gilles Deleuze and Félix Guattari’s notion of nomadology, which can be used as the basis for an ontological and aesthetic alternative to our understanding of representational theatre. Referring to different meanings of nomadology, the essay argues for the notion of nomadic performativity, which can be applied to recent non-representational performative practices. For this purpose the essay makes an indirect comparison between Deleuze and Guattari’s philosophical ideas and their sporadic insights into art, such as Francis Bacon’s paintings and Antonin Artaud’s theatre. Deleuze discusses theatre in “One Less Manifesto”, his only text directly dedicated to theatre and to Carmelo Bene’s productions. Referring to the structural deformations in Bene’s work, Deleuze argues for non-representational theatre, based not on representation and identity but on continuous variation and differentiation. In other words, if theatre as a form of representation creates a striated and hierarchized space that embodies and increases power, the non-representational theatre creates a nomadic smooth space of continuous variation, which transposes everything into a constant becoming. In this respect nomadic performativity covers these meanings: first, it is a distribution of intensities, which come to replace forms, bonds, organized hierarchies; second, it refers to fusional multiplicities rather than self-identical subjects; and third, it opens up the potential for change and “becoming-minor” instead of representing major figures of power.
48
Sayo, Pyung, and SunHwan Hong. "The“Body-Art”Discipline and Becoming - Based on the Body Theory of Michel Foucault and Gilles Deleuze -." Journal of Basic Design & Art 23, no. 4 (August 31, 2022): 135–51. http://dx.doi.org/10.47294/ksbda.23.4.10.
Full text
49
Brezavšček, Pia. "The line of sense: An outline of the On(the)line." Maska 34, no. 198 (December 1, 2019): 105–11. http://dx.doi.org/10.1386/maska.34.198-199.105_1.
Full textAbstract:
Abstract The text is a rewritten lecture on the staging of Mateja Bučar's dance installation On(the)line performed in Cankarjev dom on 20 October 2017. It draws parallels between a staged art situation and the philosophy of Gilles Deleuze whose book The Logic of Sense discusses the line of sense, the surface that separates bodies and events and represents the line of nonsense that produces sense and language. Conversely, the simple gesture of a line drawn along the lobby of Cankarjev dom in the performance On(the)line is one that establishes an extraordinary situation, a line of artistic nonsense that has, as Andrew Hewitt would say, the power to switch between the aesthetic and the political.
50
Kane, Carolyn L. "The synthetic color sense of Pipilotti Rist, or, Deleuzian color theory for electronic media art." Visual Communication 10, no. 4 (October 14, 2011): 475–97. http://dx.doi.org/10.1177/1470357211415774.
Full textAbstract:
Electronic artist Pipilotti Rist’s colorful and sensuous video installations enliven the new media landscape and offer a fresh paradigm for conceptualizing color in electronic media art. This article traverses this landscape in Rist’s work by way of Gilles Deleuze’s equally unique and idiosyncratic color theory. While Deleuze articulated his color theory in terms specific to painting, his theory was nonetheless structured out of analogies to inorganic, electronic, and synthetic, machine systems, and thus it is highly compatible for discussions of color in electronic aesthetics. This article explicates Deleuze’s argument that color is a form of haptic sensation that is not nostalgic, nor purely meaningless, but rather offers fresh affects, erotics, and sensorial possibilities that balance meaning and chaos, and affect and logic. The article concludes that the much-needed continuation of color philosophy within new media art is broached through Rist’s synthetic, yet lively artwork.