By Simon O'Sullivan
In a sequence of philosophical discussions and inventive case experiences, 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 extended and intricate perform. Staging a chain of encounters among particular Deleuzian options - 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 concept into different milieus, permitting those 'possible worlds' to paintings again on philosophy.
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Additional resources for Art Encounters Deleuze and Guattari: Thought Beyond Representation
There is no end to this rhizomatic network, this weave, no origin or final cause. It is in this sense that the rhizome operates without points of transcendence. It never allows itself to be over coded; it never has a supplementary dimension over and above the number of lines from which a unity might be projected. This notion of multiplicity then announces a different attitude to the world; an understanding of the latter as a plane of immanent connectivity and complexity. Indeed, this multiplicity is not going on ‘elsewhere’, in some ‘other place’, but is here, in our world, albeit ‘seen’ differently.
They are not registered by areas, except out of human commodity. Thoughts are clouds. The periphery of thoughts is as immeasurable as the fractal lines of Benoit Mandelbrot. Thoughts are pushed and pulled at variable speeds. They are deep, although core and skin are of the same grain. Thoughts never stop changing their location one with the other. When you feel like you have penetrated far into their intimacy in analysing their so-called structure or genealogy or even post structure, it is actually too late or too soon.
16 We never actually get to that place beyond the circumstances of the object being talked about. 17 We might say that for these two melancholy scientists art is like a fallen angel, or, less poetically, simply a form of writing. The rhizome allows us to avoid this conceptual model or procedure of representation and also its critique. This is an easy thing to say, but it is a difficult thing to think. After all we live, particularly in academia, even more particularly within art history, in a representational world.
Art Encounters Deleuze and Guattari: Thought Beyond Representation by Simon O'Sullivan