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Colin Gardner [8]Colin Raymond Gardner [1]
  1.  42
    Beyond Percept and Affect: Beckett's Film and Non-Human Becoming.Colin Gardner - 2012 - Deleuze and Guatarri 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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  2. A human rights issue: Some thoughts on the case of Salman rushdie.Colin Gardner - forthcoming - Theoria.
  3. Bim bam bom Bem : Beckett's peephole as audio-visual rhizome.Colin Gardner - 2009 - In Eugene W. Holland, Daniel W. Smith & Charles J. Stivale (eds.), Gilles Deleuze: Image and Text. Continuum.
     
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  4. Deleuze and the animal.Colin Gardner & Patricia MacCormack (eds.) - 2017 - Edinburgh, UK: Edinburgh University Press.
    Undoing anthropocentrism : becoming-animal and the nonhuman -- Vectors of becoming-imperceptible : the multiplicity of the pack -- Animal politics, animal deaths : transversal connectivities and the creation of an ethico-aesthetic paradigm -- Animal re-territorialisations in art and cinema -- Transverse animalities : ecosophical becomings.
     
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  5. Ecosophical aesthetics: art, ethics and ecology with Guattari.Patricia MacCormack & Colin Gardner (eds.) - 2018 - New York: Bloomsbury Academic.
    Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics - in the forms of visual art, film, sculpture, painting, literature, and the screenplay - can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari's own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical (...)
     
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  6.  26
    Nadine Boljkovac (2013) Untimely Affects: Gilles Deleuze and an Ethics of Cinema, Edinburgh: Edinburgh University Press.Colin Gardner - 2015 - Deleuze and Guatarri Studies 9 (2):264-272.
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  7.  22
    Craig Lundy (2012) History and Becoming: Deleuze's Philosophy of Creativity, Edinburgh: Edinburgh University Press.Colin Gardner - 2014 - Deleuze and Guatarri Studies 8 (4):569-578.
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  8.  24
    Barnett Newman's Zip as Figure.Colin Gardner - 2012 - Deleuze and Guatarri 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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