File Name: art encounters deleuze and guattari .zip
How to publish with Brill. Fonts, Scripts and Unicode. Brill MyBook.
It is commonly acknowledged even by them! Indeed, some prominent writers go so far as to say that it is nonsense. Helpfully, O'Sullivan says, It seems to me to be of critical importance to keep alive a certain style of Deleuze's thought without over-academicising his writings or endlessly repeating his own words.
We need to repeat the energy and style of his writings without merely representing his thought. It is the ultimate territorialisation and leads to stasis. O'Sullivan begins with a quote from Deleuze's Difference and Repetition: "Something in the world forces us to think.
This something is an object not of recognition but of a fundamental encounter DR He ends by saying, "I hope very much that the book will have operated as a productive case study of one particular encounter with Deleuze and with art. If it moves any one reader to read Deleuze further and to conduct their own transversal experiments, then it will have more than served its purpose Let me elaborate on the material therein between those opening and closing remarks which has done so.
In the spirit of rhizomatics, my remarks are in no particular order. They are snapshots of lines of flight from my reading, which, as you can see from the photograph of the annotated pages, were many. See, e. The problem has been in trying to find a methodology which shies away from simply trying to plug examples directly into a Deleuzian framework like some kind of DeLandan assemblage.
O'Sullivan counsels against such an approach. He says, "One might be able to extract such a method or system but this would be to render Deleuze's thought inoperative, to freeze it in, and as, a particular image of thought, to capture its movement, precisely to represent it 3. So onward. He says that the style of ATP is "[…] at odds with much academic writing, especially that utilised by art theory, 2 inasmuch as its modus operandi is affirmation and creation rather than negation and critique 9.
It is style which, in conjunction with brute matter, induces the affect which constitutes the aesthetic. It is style that organises matter. Style that takes lived perceptions and affects into the realm of art: "in each case style is needed -the writer's syntax, the musician's modes and rhythms, the painter's lines and colours -to raise lived perceptions to the percept and lived affections to the effect.
The rhizome is anti-analytic. It is a flat system in which the individual nodal points can be, and are, connected to one another in a non-hierarchical manner.
A rhizome, then, fosters transversal connections and communications between heterogenous locations and events. Writing over ten years ago now, before the advent of the iPhone, O'Sullivan outlines the importance of the development of the web in being a technology which is a "space of creativity, invention and expression The nomadic turn.
It is a moment in human evolution which sees a new folding; "prosthetic technologies involve the folding of silicon technologies 'into' our carbon ones In fact, the arts themselves might be said to be in rhizomatic contact and communication with other man-made, or indeed, 'natural' systems. A rhizomatic approach, then, leads to "a mapping out of the parameters, via the rhizome, of an expanded art practice, between art and its participants, and between art and art history We might coin the generic term "Arting" regarding the arts in general.
O'Sullivan describes the rhizomatic connections between different milieus and registers as a creative smearing It is an active process with more than a little of the element of bricolage about it. He says, "Again, we might note here the importance of the Internet for many artistic collaborations in this sense -the production of micro communities and local alliances even on a global scale 18 "Art here is less a label for an object than a name for a specific kind of coupling It places the aesthetic experience and, therefore, artistic meaning, firmly at the conjunction of art object and beholder or auditor.
It is not just our art-machine that produces these effects, but our art-machine in conjunction with a subject-machine. For the signification effect, or indeed the aesthetic effect, does not come from the object, but from the object being confronted by coupled with a beholder. It is immanent. It doesn't. This notion of multiplicity then announces a different attitude to the world; an understanding of the latter as a plane of immanent connectivity and complexity.
Indeed, this multiplicity is not going on 'elsewhere', in some other 'place', but is here, in our world, albeit 'seen' differently. After all, where is the musical object when it is not before our ears? Lydia Goehr describes the historical processes by which music came to be objectified in canonical works; exhibits in the "Imaginary Museum".
O'Sullivan says, […] it is a determining feature of the contemporary work that it is obviously destined for the museum collection, conservation, exhibition and for the museum audience. This approach is implied in any 'theory' of art, for the theory is made only of objects, in order to determine them.
But the work is not merely a cultural object. Regarding affects in art, in art history and musicology "where deconstructive approaches, let alone semiotic ones, to art have become hegemonic, their existence and their central 'role' in art needs asserting It transforms, if only for a moment, our sense of our 'selves' and our experience of our world. He labels it as an experiment in taking Deleuze's philosophical concepts into other milieus and in allowing the latter to feed back on Deleuze.
It is in this sense that the artistic 'case studies' are meant not as illustration but as parallels to, and in some senses deviations from, the conceptual work. They also serve to demonstrate that art is a form of thought in and of itself.
In short, the first philosophers are those who institute a plane of immanence like a sieve stretched over chaos. In this sense they contrast with sages, who are religious personae, priests, because they conceive of the institution of an always transcendent order imposed from outside… Whenever there is transcendence, vertical being, imperial State in the sky or on earth, there is religion; and there is philosophy whenever there is immanence.
WP 43,quoted Religion and a transcendent worldview, then, can offer no proper explanation of art and the aesthetic. Confronting this doxatic, theoretical, opinion amounts to nothing more significant than "pleasant or aggressive dinner conversations at Mr Rorty's WP Instituting the plane of immanence is a "survival mechanism" which "will allow thought and creativity to unfurl In the 5th chapter, "Possible Worlds to Future Folds", O'Sullivan talks about certain philosophical concepts, the monad and the fold, making reference to the paintings of Gerhard Richter.
This interests me, not least since some of my own paintings have been inspired by Richter's abstract works. Pink Plank Acrylic on canvas Tom Tomos He labels this another experimental approach; to construct a Deleuze-Richter conjunction, to set each alongside the other and in so doing to produce a new kind of assemblage between the two It would be a rich vein, which O'Sullivan acknowledges in his footnote, would require another book to do it justice.
Art considered as actual landscape even abstractedly proves a powerful metaphor for a "region of being Richter says,The invention of the readymade seems to me the invention of reality, in other words the radical discovery that reality in contrast with the view of the world image is the only important thing. Since then painting no longer represents reality but is itself reality produced by itself.
And sometimes or other it will again be a question of denying the value of this reality in order to produce pictures of a better world as before. RIC ,quoted This alone ought to stop the doxatic question, "But what is it a picture of? The empty canvas isn't; it is full of promise. There are very many others slices to cut. As a work to engage the thinking of anybody who is working at the conjunction of Deleuze and aesthetics, it is a "must read".
One note on style. The book contains 62 pages of endnotes. O'Sullivan explains why he has done this. I found myself reading two parallel texts the whole time, since there is probably no page which doesn't have a referential note. I found the notes so informative and germane to the text that they could easily have been included in the flow of the overall narrative.
Lines of flight are one thing, but authors and editors could make things easier on the eye and the thumb.. McLean's subsequent and current work in the field of live-coded music and the development of the worldwide Algorave community is 3 a paradigm example of the utilisation of new technologies fostering rhizomatic connections between "different milieus and registers".
McLean says, "Live coding is not a genre, or a set of tools, but a community of diverse practices. O'Sullivan's approach will have lessons for my approach to the vignette material. O'Sullivan emphasises Deleuze's thought on the importance of the immanent as a foil to the lazy thinking of the doxa. I noticed parallels in this discussion with what Barrett says in After Sound concerning the music collective Wandelweiser, who are still a major force albeit without guns and explosives in the minor.
These words have been but one salami slice as a line of flight through O'Sullivan's book. Related Papers. By Eve Mayes. An [Un]Likely Alliance.
By Bernd Herzogenrath. By Dr Tom Hewitt. Deleuze and Deep Ecology By Alistair Welchman. By Stuart Tait. Download pdf. Remember me on this computer.
Enter the email address you signed up with and we'll email you a reset link.
In this article we focus on the potential for an alignment of certain feminist artistic practices and poststructuralist conceptions of critique that may enable ways of theorising practices of resistance and engender ways of practicing resistance in theory, without the lurch back into masculinist forms of dogmatism. We argue that this creative conjunction between Irigaray, Deleuze and Guattari provides the resources for a conceptualisation of both feminist artistic practice and the critical practice of poststructuralist philosophy as forms of resistance to the dominant patriarchal order, in ways that can avoid the collapse back into masculinist forms of dogmatism. It is concluded that constituent practices of resistance can be understood as a challenge to the phallogocentric symbolic order to the extent that they are practices of a labial art-politic. Topics: JC. OAI identifier: oai:kar. Provided by: Kent Academic Repository.
Art Encounters Deleuze and Guattari DRM-free; Included format: PDF; ebooks can be used on all reading devices; Immediate eBook download after purchase.
Please note: In order to keep Hive up to date and provide users with the best features, we are no longer able to fully support Internet Explorer. The site is still available to you, however some sections of the site may appear broken. We would encourage you to move to a more modern browser like Firefox, Edge or Chrome in order to experience the site fully.
In keeping with the position maintained throughout his work, Deleuze's writings on painting reject an aesthetics of mimesis in favour of a celebration of effectivity. Mobilizing a dynamic of combative extraction, Deleuze shows in these writings how works of art can engage with local instances of suffering and constraint in such a way as to open these on to other, livelier possibilities. Arguing that the version deployed in Deleuze's discussion of Bacon is limited in its ability to negotiate some kinds of contingent negativity, it maintains that this might, accordingly, be supplemented usefully by the differently inflected version at work in his piece on Fromanger. The article concludes by suggesting how these two versions of combative painterly extraction might most productively be imagined as working in tandem. Most users should sign in with their email address.
The system can't perform the operation now. Try again later. Citations per year.
Art Encounters Deleuze and Guattari -Simon O'Sullivan
Gilles Deleuze January 18, —November 4, was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze also produced studies in the history of philosophy on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz , and on the arts a two- volume study of the cinema, books on Proust and Sacher-Masoch, a work on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers.
It seems that you're in Germany. We have a dedicated site for Germany. In a series of philosophical discussions and artistic case studies, this volume develops a materialist and immanent approach to modern and contemporary art. The argument is made for a return to aesthetics - an aesthetics of affect - and for the theorization of art as an expanded and complex practice. Staging a series of encounters between specific Deleuzian concepts - the virtual, the minor, the fold, etc. He has published widely in the area of aesthetics and art theory, including articles in Parallax, Angelaki and Pli. This is his first monograph.
Simon O'Sullivan, Art Encounters Deleuze and Guattari: Thought Beyond Representation. New York: Palgrave Macmillan, pp. ISBN
Токуген Нуматака познакомился с Танкадо много лет. Молодой программист приходил когда-то в Нуматек, тогда он только что окончил колледж и искал работу, но Нуматака ему отказал. В том, что этот парень был блестящим программистом, сомнений не возникало, но другие обстоятельства тогда казались более важными. Хотя Япония переживала глубокие перемены, Нуматака оставался человеком старой закалки и жил в соответствии с кодексом менбоко - честь и репутация.
Вверху мирно раскачивалась курильница. Халохот, расталкивая людей, двигался по центральному проходу, ища глазами намеченную жертву. Он где-то. Халохот повернулся к алтарю.