In a series of philosophical discussions and artistic case studies, this volume develops a materialist and immanent approach to modern and contemporary art. The argument is made for a return to aesthetics--an aesthetics of affect--and for the theorization of art as an expanded and complex practice. Staging a series of encounters between specific Deleuzian concepts--the virtual, the minor, the fold, etc.--and the work of artists that position their work outside of the gallery or "outside" of representation--Simon O'Sullivan takes Deleuze's thought (...) into other milieus, allowing these "possible worlds" to work back on philosophy. (shrink)
Introduction: contemporary conditions and diagrammatic trajectory -- From joy to the gap: the accessing of the infinite by the finite (Spinoza, Nietzsche, Bergson) -- The care of the self versus the ethics of desire: two diagrams of the production of subjectivity (and of the subject's relation to truth) (Foucault versus Lacan) -- The aesthetic paradigm: from the folding of the finite-infinite relation to schizoanalytic metamodelisation (to biopolitics) (Guattari) -- The strange temporality of the subject: life in-between the infinite and the (...) finite (Deleuze contra Badiou) -- Desiring-machines, chaoids, probeheads: towards a speculative production of subjectivity (Deleuze and Guattari) -- Conclusion: composite diagram and relations of adjacency. (shrink)
This article attends to Deleuze and Guattari's idea of a ‘minor literature’ as well as to Deleuze's concepts of the figural, probe-heads and the diagram in relation to Bacon's paintings. The paper asks specifically what might be usefully taken from this Deleuze–Bacon encounter for the expanded field of contemporary art practice.
This article offers two commentaries on two of Félix Guattari's essays from Chaosmosis: ‘The New Aesthetic Paradigm’ and ‘Schizoanalytic Metamodelisation’. The first commentary attends specifically to how Guattari figures the infinite/finite relation in relation to what he calls the three Assemblages (pre-, extant, and post-capitalism) and then even more specifically to the mechanics of this relation – or folding – within the third ‘processual’ Assemblage or new aesthetic paradigm of the essay's title. The second commentary looks at what Guattari has (...) to say about this paradigm in relation to subjectivity, that is, the schizoanalytic programme or practice of metamodelling. Here the focus is on the turn to asignifying semiotics – but also the importance of signifying material and indeed the actual material scene of encounter – in any programme for the production of subjectivity (it is here also that the symptom makes its appearance). (shrink)