Intensities and Lines of Flight: Deleuze/Guattari and the Arts

Intensities and Lines of Flight: Deleuze/Guattari and the Arts

Language: English

Pages: 234

ISBN: 1783480327

Format: PDF / Kindle (mobi) / ePub


The writings of Gilles Deleuze and Felix Guattari offer the most enduring and controversial contributions to the theory and practice of art in post-war Continental thought. However, these writings are both so wide-ranging and so challenging that much of the synoptic work on Deleuzo-Guattarian aesthetics has taken the form of sympathetic exegesis, rather than critical appraisal.

This rich and original collection of essays, authored by both major Deleuzian scholars and practicing artists and curators, offers an important critique of Deleuze and Guattari's legacy in relation to a multitude of art forms, including painting, cinema, television, music, architecture, literature, drawing, and installation art. Inspired by the implications of Deleuze and Guattari's work on difference and multiplicity and with a focus on the intersection of theory and practice, the book represents a major interdisciplinary contribution to Deleuze-Guattarian aesthetics.

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there is nothing inexorable about the rise of such milieus. However, insofar as repetitious blocks do arise within chaos, it “has a chance to” become relational (TP 313), and thus ultimately musical. There is a distinction, however, between the mere repetition of milieus that found relations—which he also calls “meter”—and the originary relations he discusses under the heading of “rhythm”. Rhythm, he argues, arises not from repetition, but rather as a relation between distinct metric milieus as

Expressive refrains point towards the self-consistent autonomy of affect, but ultimately fail to break free of both their internal origin and external reception; their consistency is not self-defined, but is determined by the degree to which they ward off external influence and satisfy inner lacks (i.e., by the degree to which they successfully represent the interests of subjects to their relevant audiences). As Deleuze puts it, “Animal and child refrains seem to be territorial: therefore they

the brilliance, the gorgeousness of his colours, for example, in his portraits. Deleuze links him with Cézanne as the great colourists of the twentieth century. UNLOCKING THE VALVES OF FEELING Bacon said his painting must “unlock the valves of feeling and therefore return the onlooker to life more violently” (SY 17). “What directly interests [Bacon]”, Deleuze writes, “is a violence that is involved only with colour and line: the violence of a sensation (and not of a representation), a static or

laws governing the formation of crystalline-inorganic matter, solids with a highly regular and periodic (repeating) arrangement of atoms, ions and molecules (19). This was achieved largely by suppressing the representation of space as a three-dimensional plenum linking things together in order to bring forth the material individuality of the thing (22). The chief distinctive property of abstraction is a feeling of repose that is purified of dependence on the outer world, the release from one’s

the Idea’s representations from pseudo-representations (e.g., Platonism). To be philosophical is to determine whether a sentence is a proposition or pseudo-proposition, a representation or pseudo-representation (logical empiricism). To be philosophical is to mistakenly believe that one’s words constitute a definitive representation (anti-foundationalism). As for literature, it is deemed the counterfeit representation—the simulacrum (Platonism) or the pseudo-proposition (logical empiricism).

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