Deleuze and the Diagram: Aesthetic Threads in Visual Organization (Bloomsbury Studies in Continental Philosophy)
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Deleuze and the Diagram charts Deleuze's corpus according to aesthetic concepts such as the map, the sketch and the drawing to bring out a comprehensive concept of the diagram. In his interrogation of Deleuze's visual aesthetic theory, Jakub Zdebik focuses on artists that hold an important place in Deleuze's system. The art of Paul Klee and Francis Bacon is presented as the visual manifestation of Deleuze's philosophy and yields novel ways of assessing visual culture. Zdebik goes on to compare Deleuze's philosophy with the visual theories of Foucault, Lyotard and Simondon, as well as the aesthetic philosophy of Heidegger and Kant. He shows how the visual and aesthetic elements of the diagram shed new light on Deleuze's writings.
Deleuze conceptualized his theory as a form of painting, saying that, like art, it needed to shift from figuration to abstraction. This book focuses on the visual devices in Deleuze's work and uses the concept of the diagram to describe the relationship between philosophy and art and to formulate a way to think about philosophy through art.
organs from working; flayed, as if the organs clung to the skin.’36 The organs are scrambled in their order, resembling the flayed and mixed up organs of Bacon’s triptychs. But an organizing notion, however tenuous, is implied. After all, the chapter of Deleuze and Guattari’s book is a ‘how-to’ guide called ‘How Do You Make Yourself a Body without Organs?’ This programme follows the morose time of a sadomasochistic schedule. The mistress acts upon the subservient slave and sews all of his
marque (a mark), or rature, hachure . The hachure is an accumulation of short lines used for shading and denoting surfaces in relief – as in map drawing – drawn in the direction of slope. The hachure is short, broad and close together when the slope it depicts is steep, and it is long, narrow and far apart when the slope is gentle. And so a hachure that denotes topographical elements on a map denotes depth and height on a flat surface – on a plane. Moreover, trait can mean portée , as in the
longer saying appearance at all, I am no longer at all opposing it to essence. The apparition is what appears in so far as it appears. Full stop.93 9781441115607_Ch03_Final_txt_print.indd 128 3/30/2012 1:21:50 PM Gilles Deleuze’s Diagram 129 This comment is important because it aligns Kant’s notion of apparition with an empirical notion of vision. This is taken up by Heidegger’s phenomenological stance when he comments on the notion of appearing as the spatial form of representation:
this question through Francis Bacon, or more specifically, through Deleuze’s reformulation of the diagram through the painter’s art. We must first explore the basis of the diagrammatic dimension of the body within the dynamic of the abstract body. We must trace the cinematics of the function. Egg Cinematics Conley, who is an expert at describing the visual aspect of Deleuze and Guattari’s writing, captures the dynamic and vibrant optics of their style. He reveals active currents and moving
back to the object of the egg that he takes from Albert Dalcq and his L’oeuf et son dynamisme organisateur.103 The virtual state of composition that prefigures the actualized being is described as a sketch, putting the onus on a term that seems trivial and unformed as a sketch might, but that for Deleuze, gathers importance precisely in its potentiality. But this sketch is the starting point: the sketch instead of the fold, or rather the sketch that contains the fold. How is it going to lead to