Intensities and Lines of Flight: Deleuze/Guattari and the Arts
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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.
occurring, a key facet of Deleuze’s ethology of the event as propounded in texts such as Logic of Sense 5. We also witness in Stanislavski a seemingly crypto-Spinozan commitment to a process of attempting to tune to differing velocities as integral to the actor’s process of transformation into character when he states, “We make combinations of all sorts of different speeds and measures”, as well as “You cannot get along with just one tempo-rhythm. You must combine several of them” 6. Stanislavski
Sensation published a decade earlier. These “zones of indiscernibility” include the notion of art as sensation, the connection between sensation and becoming, the concept of aesthetic athleticism and the view that art’s problem is that of capturing the nonsensible forces that condition experience 2. Furthermore, at precise (although surprising) moments in The Logic of Sensation, it becomes difficult to distinguish Deleuze’s discussion of “matters of fact”, “common facts”, “force”, the “body
each other. YET WE ARE DIFFERENT In my struggle, in Drawing Out Deleuze, to generate a visually coherent “extrapolation” of Difference and Repetition, I hope Deleuze would not mock me. I hope that he would not mock me in the manner that Francis Bacon, the artist who became the philosopher’s “Apollo of the Muses”, mocked the fawners and pretenders who assailed him in unfailing exhibitions of self-annihilation in London’s barrooms and restaurants. Deleuze concerns himself with the elusiveness, the
piece. The title comes from the marble piece lying flat on the table and its semblance that sits on top, which is an exact photograph of the marble floating in acrylic such that it also replicates its dimensions. This enables a suspension of understanding for most viewers until they spend some time with the work, looking at it from multiple angles to discover the real material. Here, we find Heidegger once again intersecting with Deleuze, as both philosophers say that we cannot really know things
Gwen Eaton’s motherly character become partially revealed. While it may appear to be the case that Gwen Eaton was living out in widowhood the mostly tranquil and uneventful life she had supposedly enjoyed in blissful domestic partnership with her husband Jon—“She wanted her Nikki to be happy like her Clare and that meant marriage, kids, home. Family” (MM 25)—the word “Nice” (MM 34) hardly seems the appropriate construction for capturing “the measure of Mom’s life” that Nikki is so insistent upon