This Deleuzian Century: Art, Activism, Life (Faux Titre, Volume 400)

This Deleuzian Century: Art, Activism, Life (Faux Titre, Volume 400)

Language: English

Pages: 301

ISBN: 2:00292657

Format: PDF / Kindle (mobi) / ePub


According to Gilles Deleuze (1925-1995) philosophy is not for the privileged few or the specialized ones: it is an activity that appeals to anyone who is attuned to the desire for the ethical life. Inspired by Spinoza’s concepts of desire and freedom, Deleuze’s ethical life is a life that aims at experimenting with sustainable ways of coping with the earth, with society, with the long term struggles and contemporary crisis that matter to us all. An ethical life defines thinking as the invention/intervention of new concepts and takes the risk of working with them in the real world. This book has been written in this spirit of free explorations of intensities. It explores the entanglements between art, activism and life in the service of training us to live ethically. Contrary to morality, which is the implementation of socially accepted rules and regulations, ethics requires an analysis of the power relations that structure our interaction as relational subjects, in order to enable us to deal with them.

The original contributions presented in this volume aim to set these ideas to work in contemporary practices, exploring the ways in which Deleuze’s thought continues to be relevant at the start of the 21st century. As a product of the “Deleuze Circle”, an open collaboration between academics situated in the Low Countries started in 2008, the chapters in this book contribute to our ongoing conversations on how to live the ethical life today in academia, in art but above all in our multiple ecologies of belonging.

Painting Outside the Lines: Patterns of Creativity in Modern Art

Dedication: The Work of William P. Ginther, Ecclesiastical Architect (Sacred Landmarks)

Picasso (Arnoldo Mondadori Arte)

The Path of Humility: Caravaggio and Carlo Borromeo (Renaissance and Baroque: Studies and Texts, Volume 34)

The Temples of Kyoto

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

which is not reducible to the organism, to make thought a power which is not reducible to consciousness’ (D, 62). To embrace such a constructivist stance is to embark on the project of defatalization. 56 The proposal is not to be taken lightly in the era of privatizing profits and socializing losses. 57 Another name for this intensive thinking, which keeps both fatalism and instrumental rationality at bay, is ecology. It rejects the law of parsimony (Occam’s razor) in favour of the logic of

others. It is an anonymous, but no less glorious and political presence. In a word, his grandeur is the universal freedom of the structuralist hero who exposes himself to the infinite movement of the event. It is the visible presence of the future itself as it fills up the present with potentials whose outcomes cannot be seen. Dignity and Ressentiment After health and glory, this dramatic concept of grandeur brings us to the final aspect of grandeur, which Deleuze borrows from Stoicism but

intellectuelle de son esprit. Il faut compter pour moi, avant tout, avec le magnétisme incompréhensible de l’homme, avec ce que, faute d’expression plus perçante, je suis bien obligé d’appeler sa force de vie. Ces forces informulées qui m’assiègent, il faudra bien un jour que ma raison les accueille, qu’elles s’installent à la place de la haute pensée, ces forces qui du dehors ont la forme d’un cri. Il y a des cris intellectuels, des cris qui proviennent de la finesse des moelles. C’est cela,

chance, the genius writers and composers discussed are not interested in ‘copying’ or representing anything. In more general terms, when art reveals a world this is therefore not about revealing ‘the beauty of nature’ in the Kantian sense. Deleuze concludes that the Kantian aesthetic dictum tells us that ‘he who leaves the museum to turn towards the beauties of nature deserves respect’ (K, 56), which is not something that Beckett (nor Deleuze himself) could agree with. When Beckett asks of art to

continuously, as the following example sets out beautifully: Every morning the Scenopoetes dentirostris, a bird of the Australian rainforests, cuts leaves, makes them fall to the ground, and turns them over so that the paler internal side contrasts with the earth. It is this way it constructs a stage for itself like a ready-made; and directly above, on a creeper or a branch, while fluffing out the feathers beneath its beak to reveal their yellow roots, it sings a complex song made up from its own

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