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.
9781441115607_Ch05_Final_txt_print.indd 187 3/30/2012 1:22:12 PM 188 Deleuze and the Diagram at the base of the crucifixion. He explains the ‘intensities’ resulting from the figures’ ‘indeterminate state’: they are amphibian, androgynous, polymorphous, simultaneously organic and inorganic – [they] offer the viewer an intense experience of painterly variation that runs through the bodies, in and along the spinal columns and nervous systems, of both the Figures that are grasped and the viewer
Every object is a composition of forces, and the compositional event is the work of expression of an abstract machine.143 DeLanda provides the developing embryo as a concrete example of this process: ‘The DNA that governs the process does not contain, as was once believed, a blueprint for the generation of the final form of the organism, an idea that implies an inert matter to which genes give form from the outside.’144 Rather, the genes are part of a process, DeLanda states, and function through
(BwO). This section then introduces the final chapter, which will deal with foldings, topology and the skin in art. Islands and Bones What follows is not a discussion of landscape and the body but, more specifically, of geography and anatomy. The double episteme of geography and anatomy is crucial for Deleuze and Guattari because it serves to portray the image of their philosophy. What Is Philosophy? explains how the philosophical discipline of thought functions. In the process, a whole
Deleuze, this whole process of individuation from the virtual to the actual is a dynamic movement that he qualifies as a cinematics: ‘A whole kinematics of the egg appears, which implies a dynamic.’115 Deleuze’s formula is tight, and the three terms: kinematics, dynamic and implies (the French implique contains the word pli , that is, the fold) are semantically very similar. The formula describing the process of the dynamics of an egg is itself as smooth as the object it contains. But the
elements; and (c) the contextualization (differential relation incarnated in the spatio-temporal; responding to the ‘how many’, the ‘what’, of each case of the method of dramatization). Therefore, as an Idea is spatially deployed as a structure, it forms the system. It is a virtual structure that manifests itself actually as a refutation of the Aristotelian method; it follows the same path that we have traced in the ontogenetic differentiation in the egg. The idea and the organism merge into a