By Simon O'Sullivan
In a chain of philosophical discussions and creative case experiences, this quantity develops a materialist and immanent method of smooth and modern artwork. The argument is made for a go back to aesthetics--an aesthetics of effect--and for the theorization of artwork as an multiplied and intricate perform. Staging a chain of encounters among particular Deleuzian suggestions; the digital, the minor, the fold, etc., and the paintings of artists that place their paintings outdoor of the gallery or "outside" of illustration, Simon O'Sullivan takes Deleuze's inspiration into different milieus, permitting those "possible worlds" to paintings again on philosophy.
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In a sequence of philosophical discussions and creative case stories, this quantity develops a materialist and immanent method of sleek and modern artwork. The argument is made for a go back to aesthetics--an aesthetics of effect--and for the theorization of artwork as an elevated and complicated perform. Staging a chain of encounters among particular Deleuzian innovations; the digital, the minor, the fold, and so on.
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Extra resources for Art Encounters Deleuze and Guattari: Thought beyond Representation (Renewing Philosophy)
Consequently our passion would sooner be the dance, as Nietzsche wanted, and as Cage and Cunningham want. (1993, 51) Here the sign becomes an intensity, a trigger point for movement. Reading, if this is still a relevant term, is reading in order to be moved, to be ‘set in motion’. Indeed, the tensor can be understood as precisely the affective side of the sign. Understanding art practice rhizomatically then entails attending to what we might call its performative aspect, what it does and what it makes us do, as well as to its ‘knowledge producing’ aspects.
Here the world is no longer thought as being comprised of distinct entities, not even of aggregates of smaller and smaller parts. Instead a notion of difference becomes the condition of possibility for phenomena. But this difference is not that between already demarcated signifiers (it is not a semiotic) rather it is a difference in intensity: Every phenomenon refers to an inequality by which it is conditioned. Every diversity and every change refers to a difference which is its sufficient reason.
Such a rethinking of thought involves a rethinking of the cogito. The ‘mind’ is no longer the origin of thought as such, but operates as a kind of threshold, or temporary turbulence, within a thought cloud-field. Here thought, thinking, is itself a multiplicity. Creative thinking then involves an openness to, a reconnection with, this nebulous realm of potentialities beyond (in fact, always parallel to) the subject. In What is Philosophy? Deleuze and Guattari are interested specifically in demarcating different forms of thought; for example science understood as that which involves function (we might say, involves a machinic mapping of the world); or art, involving blocs of affects (I will be exploring this further in the next chapter).
Art Encounters Deleuze and Guattari: Thought beyond Representation (Renewing Philosophy) by Simon O'Sullivan