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  1.  50
    Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari.Stephen Zepke - 2005 - Routledge.
  2.  20
    Art as Abstract Machine: Guattari's Modernist Aesthetics.Stephen Zepke - 2012 - Deleuze and Guatarri Studies 6 (2):224-239.
    Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together (...)
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  3.  84
    The Sublime Conditions of Contemporary Art.Stephen Zepke - 2011 - Deleuze and Guatarri Studies 5 (1):73-83.
    Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, (...)
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  4.  26
    Becoming a Citizen of the World: Deleuze Between Allan Kaprow and Adrian Piper.Stephen Zepke - 2009 - In Laura Cull (ed.), Deleuze and Performance. Edinburgh University Press. pp. 109--25.
    This chapter examines the relevance of the thoughts of Gilles Deleuze to the works of Allan Kaprow and Adrian Piper. It argues that Kaprow had made a shift akin to Deleuze's move from expressionism to constructivism and addresses the politics of Kaprow's practice in relation to Deleuze's concept of counter-actualisation. It describes the alternative of Piper's practice as one that creates performance events capable of catalysing new social territories in and as life.
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  5.  61
    The Concept of Art When Art is Not a Concept: Deleuze and Guattari Against Conceptual Art.Stephen Zepke - 2006 - Angelaki 11 (1):157 – 167.
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  6. Deleuze, Guattari, and Contemporary Art.Stephen Zepke - 2009 - In Eugene W. Holland, Daniel W. Smith & Charles J. Stivale (eds.), Gilles Deleuze: Image and Text. Continuum.
  7. Eco-estética: más allá de la estructura en la obra de Robert Smithson, Gilles Deleuze y Félix Guattari.Stephen Zepke, Juan Fernando Meijia Mosquera & Gustavo Chirolla - 2008 - Universitas Philosophica 25 (51):13-37.
  8. Eco-Aesthetics : Beyond Structure in the Work of Robert Smithson, Gilles Deleuze and Félix Guattari.Stephen Zepke - 2009 - In Bernd Herzogenrath (ed.), Universitas Philosophica. Palgrave-Macmillan.
    This paper shows that there is one and the same break in the artistic creative process of Robert Smithson and in the philosophical creative process of Gilles Deleuze and Félix Guattari. For Smithson it takes place between Site-Nonsite works and Earthworks . For Deleuze and Guattari it happens in the transition from Difference and Repetition to Anti- Oedipus . Smithson's break marks his abandoning of the institution in favour of an art of direct intervention, the Earthworks confronting one of the (...)
     
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  9.  15
    Against Nihilism: Nietzsche and Kubrick on the Future of Man.Stephen Zepke - 2007 - Journal of French and Francophone Philosophy 17 (2):37-69.
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  10. REVIEWS-Art and Revolution: Transversal Activism in the Long Twentieth Century.Gerald Raunig & Stephen Zepke - 2008 - Radical Philosophy 148:37.
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