Deleuze, Guattari and the Production of the New (Bloomsbury Studies in Continental Philosophy)
Language: English
Pages: 256
ISBN: 1441116168
Format: PDF / Kindle (mobi) / ePub
Gilles Deleuze and Felix Guattari have arguably gone further than anyone in contemporary philosophy in affirming a philosophy of creation, one that both establishes and encourages a clear ethical imperative: to create the new.
In this remarkable undertaking, these two thinkers have created a fresh engagement of thought with the world. This important collection of essays attempts to explore and extend the creative rupture that Deleuze and Guattari produce in the Capitalism and Schizophrenia project.
The essays in this volume, all by leading thinkers and theorists, extend Deleuze and Guattari's project by offering creative experiments in constructing new communities - of ideas and objects, experiences and collectives - that cohere around the interaction of philosophy, the arts and the political realm. Deleuze, Guattari and the Production of the New produces new perspectives on Deleuze and Guattari's work by emphasising its relevance to the contemporary intersection of aesthetics and political theory, thereby exploring a pressing contemporary problem: the production of the new.
be done: design a cartography of a mode of political 'desubjectivation' and 'subjectivation' posing the question of how it might be possible to link, or prolong a singularity in another singularity. Under the conditions of contemporary subjectivation, the formalism of a universal politics does not serve anything but to hide a kind of impotence behind a judgemental attitude that ignores what is actually going on. This formalism makes it impossible to comprehend the enormous difficulties which
animal behaviour that 'unclasps' a material element of its surroundings in order to incorporate it into a refrain that expresses an existential territory. 'Territorial marks are readyroades. [Les marques territoriales sont des readyroade] [They are ... ] merely this constitution, this freeing of The Readymade 35 matters of expression in the movement of territoriality: the base or ground of art' (1988: 349). In making the readyroade the ground of art - and so not really Duchamp's idea at all-
Art stages the occurrence of things, their revelation or palpability in a way which resists their easy ability to be known. That is, art insists upon the staging of an engagement with it that includes the simultaneity, that is potentially endlessly maintained, of all stages of anticipation, delay and cognisance. Feeding a this into a that. Aesthetic circuits and procedures, from an instant neural reflex to a method, from a certain glance to a particular device, establish themselves as scalar
us to think directly from an assumption of malevolence - there is no good will, good sense or proper potentiality which expresses and recognizes itself through art (no sensus communis) - to waste: for it is only in its dejected, intrusive, inert and worthless remaining that we can think of an art and life beyond that of the synthesizing organism of self-regard who views art only in order to re-view and revive himself. It is in this respect that we can draw a distinction between an aesthetics
Kantian sense the experience of pure form or harmony is not that of separate terms that are brought into relation through time, but an experience of 'relationality'; in its distinction from conceptualization and instrumentality, the beautiful would be suitable for ongoing synthesis and meaning but not yet so conceptualized. In post-Kantian aesthetics this intensity of beauty can be thought beyond the terms of the transcendental subject, towards a complicity between beauty and waste. Two