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.
what might be described as the performative elements of thought or, in effect, the performative elements of ontology?” Ultimately, Fancy contemplates what it means for us to think of the enfleshed artist in terms of architecturality and other related concepts that foreground onto-genetic production. The last two chapters of part I deal with conceptual applications, but not from the vantage point of artistic practice; instead, they look at how Deleuze applied his own concepts to works of art. The
photographer Sally Mann, Olkowski takes a critical view of Deleuze’s notion of art based on sensation. She argues that art based only on sensation is inferior; instead, we need to understand art as suggesting emotions that communicate a multiplicity of sensations, feelings and ideas, which may be called beautiful. Olkowski urges us to rethink the category of the beautiful in and against a Deleuzian aesthetic framework. Part II looks at the complications that arise from applying DeleuzoGuattarian
an image of what he wants to paint, and as he paints he views the work, appraises, judges; the eye commands the hand. But in Bacon the figure originates in an unplanned, unforeseen instinctual movement of the hand. Bacon begins by throwing or daubing paint, his hand nowise guided by a pre-existing image. The hand assumes the chaos. The strokes call for further strokes, a diagram begins to form. Then he manipulates it, elaborates it, completes it. Deleuze explains that abstract painters such as
instead, to observe every complex market unto itself. To give a large, vague “market” particular emphasis or power is irresponsible 9. De Landa holds that the world lived in is structured by language—structured only by human knowledge, which is obviously limited and faulty. This is why a volatile and changeable materiality is allowed to do the talking (so to speak) in the case studies that are to follow. The group of emerging Sydney artists Slush was conceived in light of the fact that we had
directly concerned with new materialism’s obsession with commodities and its references to historical materialism. Anti-Social Sculpture: The Energy Scam of the Western Man is a premonition of an exhibition that may never take place, precisely because of the institutional critique and resistance to the present that is its structure. A statement by curator Jack Jeweller reads as follows: “It is a response by way of exhibition-making and publishing to the ideological content of Joseph Beuys’