This article discusses the distinction between Figure and Form that Deleuze introduces in Francis Bacon: The Logic of Sensation. He uses the distinction to articulate the difference between two trajectories in modernist painting: the first focusing on sensation, the second on cerebral abstraction. I argue that the distinction between Form and Figure –– and the disjunction of two types of modernist painting initiated by this distinction –– is not as easy to maintain as might appear at first sight. Mapping the (...) lineages of modernist painting from Paul Céézanne to Georges Braque and Theo van Doesburg, the essay argues that the sensuous forces operative in a painting of the Figure are equally at play in the painting of the Form. Modernist painting might therefore be understood as the continuous collapse between Figure and Form, rather than as their strict separation. (shrink)

Antony Gormley's Another Place and Olafur Eliasson's Your watercolour machine exemplify passages and combinations of smooth and striated space as beings of sensation on planes of technical and aesthetic composition. They are frames which striate the smoothness of light, water, molten iron, etc., using scientific planes of reference. Smooth and striated mix as boundaries between visitors’ bodies and installation become permeable. Optic becomes tactile, becomes haptic, generative engagement. Both artists experiment with the interface between striated and smooth to encourage visitors (...) to experiment and experience sensation. The installations are liquid spaces; forms of perpetual non-permanence which affect and react with others’ behaviours in processes of co-emergence. (shrink)

If only everything were formed of neat laminar flows, with easy to understand conditions, and determinable outcomes: there would be no risk to manage out, messy inconsistencies and uncertainties to disrupt well-laid out plans. Things are not so clear-cut however. Indeed, as scientists, poets and philosophers of science have pointed out it is under conditions of nondeterminism and complexity that everything comes into being. There is an issue, then, when creative disciplines in particular find such complexity problematic enough to design (...) systems and models in which uncertainty, disruption and aleatory collisions are if not destroyed, then dampened. We wonder: what might become of a creative practice that championed its encounter with The Swerve, Lucretius's clinamen? This article examines the role, value and applicability of the concept of collision to design. It takes a philosophical approach to examining this concept and mapping the possibilities of its use in design. We will argue using concepts mainly from Lucretius and Serres – but also Deleuze and others – that collision is an important aspect of all creativity, and that there would be nothing were it not for collisions, disruptive deviation and swerves from equilibrium. The aim will be to articulate the conditions for the possibility of designing that is a 'fan of collisions'. (shrink)

Break out the cinema like the waves make embracing itself in one violence with the stone. Film as undulating surface, unlimit-membrane passage between the sonorities and visualities. A refrain-image as procedure that feeds the nomadic land of our mecanosphere in catastrophe. The waves, its oceanic depth, which makes explode the eye, cinema no more an optical gesture, but a tactile – handmade cinema. Hands like waves moving on the celluloid, cinema that paints itself in every gesture, in every frame. Variations (...) of a waves-machine, image as vibratile field of experimentation, metallizing matter between milieux. Waves that precipitate itself into sound, into spotcolor as small and large refrain. Jellyfish-image. No man’s land, No human’s land. Anonymous and anomalous, unnamed, only make vary The Waves, Waves that connect the sound of the whale with the one of the comets. Waves, that dry itself having sex with the sand, molecularizing everything and becoming imperceptible in the cosmic dust. Waves that ruin the man’s house. They corrode everything overflowing and being immanent. Cosmopolitics of the image, waves state in the plastic matter of expression. Waves-image, that devours the edge of the world. (shrink)

This article sketches a new image of musical works, situated beyond the «work concept», critically rethinking existing music ontologies, and grounded on Gilles Deleuze’s central ontological commitments. After situating the problem, the paper discusses current issues in music ontology, explores specific Deleuzian and Deleuzo-Guattarian ontological concepts, and argues for a new image of musical works, which are more aptly described as assemblages, as highly complex, historically constructed multiplicities defined by virtual structures, intensive processes, and actual things.

‘À quoi sert la littérature?’, Deleuze opens his book on Leopold von Sacher-Masoch with a question that this paper will pose again, trying to propose an answer to it, and to put to test the methodological approach that can be obtained from that answer: what are the uses of literature and, more specifically, how could the philosopher use literature, what could be done with it? To this end, this paper will focus on Deleuze’s symptomatological conception of literature. The second part (...) of the paper will be dedicated to the reading of two novels, 1984 by George Orwell and The Circle by Dave Eggers. The novels will be put in in a relation of resonation with two concepts sketched in Deleuze’s Post-scriptum sur les sociétés de contrôle: Foucauldian disciplinary societies and control societies. These novels will be considered as signaletic material, symptomatologies of two conditions of society, from which this paper proposes to extract two types of signs: Signs of Order and Signs of Suggestion. These signs will be made react with the concepts of Foucault and Deleuze, in order to see if they can produce the ground for a therapeutic. The paper will therefore combine literary symptomatologies and philosophical aetiology, in the attempt to make them react together, Foucault and Orwell, Eggers and Deleuze, to extract and describe signs from the literary material considered that may be brought to the fore only after the consideration of the causes of the most important symptoms of discipline and control. (shrink)

En el marco del debate sobre los lineamientos fundamentales de la ética de Deleuze, diversos autores han reparado en nociones destacadas de su obra: el deseo, el devenir, la afirmación, el nomadismo. Mi propuesta en este artículo es desarrollar una vía poco estudiada, que gira alrededor de la idea de prudencia práctica experimental. Según mi hipótesis, este concepto reúne perspectivas relevantes de la producción deleuzeana posterior a L'Anti-Œdipe, en particular su orientación vitalista, su opción por la desubjetivación y su apelación (...) a una dimensión ascética vinculada con el deseo como impulsor de la experimentación. Within the realm of debate on fundamental layouts of Deleuze's ethics, several authors have concentrated on significant notions in his work: desire, becoming, affirmation, nomadism. In this article my proposal is to develop a road, scarcely studied yet, in connection with the idea of experimental practical prudence. Respect to my hypothesis, this concept assembles relevant perspectives of Deleuze's post L'Anti-Œdipe production, especially his orientation towards vitalism, his choice for desubjectivation and his appeal to an ascetic dimension linked to desire as motor to experimentation. (shrink)