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  1. Colin Gardner (forthcoming). A Human Rights Issue: Some Thoughts on the Case of Salman Rushdie. Theoria: A Journal of Social and Political Theory.
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  2. Colin Gardner (2012). Barnett Newman's Zip as Figure. Deleuze Studies 6 (1):42-54.
    Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or ‘zip’. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and also disperses a (...)
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  3. Colin Gardner (2012). Beyond Percept and Affect: Beckett's Film and Non-Human Becoming. Deleuze Studies 6 (4):589-600.
    Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as a means (...)
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  4. Colin Gardner (2009). Bim Bam Bom Bem : Beckett's Peephole as Audio-Visual Rhizome. In Eugene W. Holland, Daniel W. Smith & Charles J. Stivale (eds.), Gilles Deleuze: Image and Text. Continuum.
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