By Simon O'Sullivan
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 multiplied and complicated perform. Staging a chain of encounters among particular Deleuzian strategies; the digital, the minor, the fold, etc., and the paintings of artists that place their paintings outdoors of the gallery or "outside" of illustration, Simon O'Sullivan takes Deleuze's suggestion into different milieus, permitting those "possible worlds" to paintings again on philosophy.
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This article maintains the most important reassessment of cinema began in Deleuze's "Cinema I: The circulate Image". during this quantity, Deleuze is worried with the illustration of time in movie and with the cinematic therapy of reminiscence, idea and speech.
In a sequence of philosophical discussions and creative case reports, 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 paintings as an multiplied and intricate perform. Staging a chain of encounters among particular Deleuzian strategies; the digital, the minor, the fold, and so on.
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Additional resources for Art Encounters Deleuze and Guattari: Thought beyond Representation (Renewing Philosophy)
2 As with the previous chapter I make this argument against the backdrop of deconstruction (or ‘signifier enthusiasm’) and against what we might call the melancholy science of a more Adornian attitude towards art. The chapter then turns to Deleuze and Guattari’s own chapter on art in What is Philosophy? and looks at how a notion of affect (along with a notion of percept) might be deployed in thinking about the actual work of art, itself understood as a specific form of thought. In particular I am interested in how this ‘Deleuzian’ attitude differs from the more usual (in terms of art history) representational models or languages (and especially the ‘Social History of Art’).
1993, 36) Massumi gives us the example of the carpenter, and his or her skills, competences and tools, ‘meeting’ a piece of wood, itself already the contraction of a past and of future potentialities. We might think of the artist’s ‘meeting’ with his or her materials, a more complex encounter perhaps, but of the same fundamental nature. 30 We might also move away from Massumi a little and think about the ‘finished’ art work’s encounter with a beholder who again is the envelopment of a potential, a set of capacities to affect and be affected.
In fact ‘art’ might be the name for both of these encounters, a meeting, or collision, between two fields of force, transitory but ultimately transformative. Both of these encounters are precisely moments of production. The encounter, between participant and art work, is as productive, albeit in a different sense, as that between artist and material. ‘Meaning’ might then be thought as this productive ‘event’, this ‘moment’ of meeting, ungraspable in its moment of occurrence, but real in its effects.