Download Art Encounters Deleuze and Guattari: Thought Beyond by Simon O'Sullivan PDF

By Simon O'Sullivan

In a sequence of philosophical discussions and inventive case stories, this quantity develops a materialist and immanent method of glossy and modern paintings. The argument is made for a go back to aesthetics - an aesthetics of impact - and for the theorization of paintings as an accelerated and complicated perform. Staging a chain of encounters among particular Deleuzian suggestions - the digital, the minor, the fold, and so on. - and the paintings of artists that place their paintings outdoor 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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Extra resources for Art Encounters Deleuze and Guattari: Thought Beyond Representation

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The world as a vortex of energy. The world, and ourselves within that world, as a ‘region in flames’ (Lyotard 1993, 56). 32 Art Encounters Deleuze and Guattari Maps Strategy-Cartography ‘Multiplicities are defined by the outside, by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities’ (ATP 9). We can understand an art practice, whether it is that of an individual, a collaboration or group, or even a specific ‘work’, as a kind of multiplicity in this sense.

For some subject-machines it might be the ‘drug-machine’, for others it will be a ‘music-machine’ or ‘meditation-machine’, or simply the coupling with another kind of Rhizomes, Machines, Multiplicities and Maps 23 subject-machine. Likewise, we might see certain kinds of art as not producing an aesthetic effect at all, or producing a weak aesthetic effect along with a strong signifying effect (certain practices of conceptual art for example). All sorts of combinations are possible. We might also think about objects that have become redundant, which are broken machines.

In life this leads to a less onedimensional and straitjacketed existence. Connections and alliances can be made between different people, different objects and different practices, which in itself allows for more flexibility, more fluidity. It is in this sense that a rhizomatics might then be characterised as the practice of the amateur involving as it does a certain bricolage, or ‘Do-It-Yourself’ logic. Although ‘art’ can name an object, we might also use it as a name for these pragmatic processes of connectivity and interpenetration.

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