Get Deleuze on Music, Painting and the Arts PDF

By Ronald Bogue

First released in 2003. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Beauty
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Plotinus
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Marsilio Ficino
Selections from statement on Plato's Symposium
Translated by means of Sears Reynolds Jayne
Shaftesbury
Selections from features of guys, Manners, reviews, occasions . . .
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Immanuel Kant
Selections from Critique of Judgment
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Selections from approach of Transcendental Idealism
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Georg Wilhelm Friedrich Hegel
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This 2006 quantity explores the connection among Kant's aesthetic conception and his serious epistemology as articulated within the Critique of natural cause and the Critique of the facility of Judgment.

Additional info for Deleuze on Music, Painting and the Arts

Example text

Rhythm itself—the 19 D e l e u z e on Music, Painting, and the Ar ts 20 differential, incommensurable relation between milieus—creates the territory, and with it expressive qualities that stake out a possession. Ethologists have long stressed the possessiveness of territorial creatures, but Deleuze and Guattari insist that such animals are also artists. “Property is first artistic, because art is first placard, poster” (MP 389; 316). The territorial marker is a signature, an expressive quality that creates a domain and names its owner.

The individuation of a becoming proceeds via a different course than that of a coded, regular process of identity formation. A becoming has the identity of an atmosphere, a time of day, or a season, a “haecceity” or “thisness” (after Duns Scotus), a specific configuration of relative movements and affective intensities that infuses and in a sense dissolves the heterogeneous commonsense entities that compose it. The identity of a becoming is molecular rather than molar, that of a multiplicity of elements that somehow cohere without entering into a regular, fixed pattern of organization.

Memory, they argue, “has a punctual organization since every present refers at the same time to the horizontal line of the course of time (kinematic), which goes from a former present to the contemporary present, and a vertical line of the order of time (stratigraphic), which goes from the present to the past or to the representation of the former present” (MP 361; 294–95). Becoming is not punctual but linear, a line moving between two points, in both directions at the same time. History is a memory that fixes time in discrete points; becoming unfixes those points and generates free-floating lines.

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