Deleuze and Guatarri Studies 6 (1):42-54 (2012)
AbstractChallenging 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 precise sensation
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A Thousand Plateaus: Capitalism and Schizophrenia.Gilles Deleuze - 1987 - Athlone Press.
The Film Event: From Interval to Interstice.Tom Conley - 2000 - In Gregory Flaxman (ed.), The Brain is the Screen: Deleuze and the Philosophy of Cinema. University of Minnesota Press. pp. 303--325.