By Simon O'Sullivan
In a chain of philosophical discussions and inventive case reviews, this quantity develops a materialist and immanent method of glossy and modern artwork. The argument is made for a go back to aesthetics - an aesthetics of impact - and for the theorization of paintings as an extended and complicated perform. Staging a chain of encounters among particular Deleuzian thoughts - the digital, the minor, the fold, and so forth. - and the paintings of artists that place their paintings open air 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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Additional resources for Art Encounters Deleuze and Guattari: Thought Beyond Representation
This approach is implied in any ‘theory’ of art, for the theory is made only of objects, in order to determine them. But the work is not merely a cultural object, although it is that too and always has been, and if it holds out or is able to hold out a promise of an infinity of forms and commentaries, and through this infinity, a promise of community of feeling, it is because it harbours within it an excess, a rapture, 40 Art Encounters Deleuze and Guattari a potential of associations that overflows all the determinations of its ‘reception’ and ‘production’.
Later, in the second volume of Capitalism and Schizophrenia, this theory of production is extended out to the ‘natural’ world, indeed no fundamental distinction is drawn between man as machine and nature as machine. The photosynthesising leaf for example is involved in the interrupting of flows, the production of production. 36 There is no problem in understanding art in this way, for art too is involved in production. Art as a desiring-machine, or as the platform for a desiring-machine, is involved in the: ‘production of productions, of actions and passions; productions of recording processes, of distributions and of co-ordinates that serve as points of reference; production of consumptions, of sensual pleasures, of anxieties, and of pain’ (AO 4).
It is important to remind ourselves again that this representational model, this representational way of thinking, is not confined to academia. Indeed, it is the way we all tend to think ourselves and our relation to the world. We are, if you like, representational creatures with representational habits of thought. We inhabit an internal and an external world. We separate ourselves as subjects from the object world. Indeed, this alienated state is the very precondition of self-consciousness. Art, at least as it is figured within representation, is complicit in this dynamic.
Art Encounters Deleuze and Guattari: Thought Beyond Representation by Simon O'Sullivan