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‘A function of art does not really contain the least little bit of details': Deleuze and Guattari and Contemporary Art
Today, conceptual practice, photography and digital technologies are all simply taken for granted by contemporary art, which is also happy to use “D&G” as well. But doesn’t Deleuze and Guattari’s thought require a more critical application? Doesn’t it demand a minor war-machine? What would this be in the case of contemporary artistic.
Abstract
Deleuze and Guattari's rejection of Conceptual art is nicely known, and rests awkwardly with the current hegemony of ‘post-conceptual' creative practices. Equally awkward is certainly Deleuze's ontological and politics hate of photography, which produces a ‘snapshot' or portrayal of getting, placing cliched pictures directly into our minds, controlling our actions and responses by denying us the power to believe creatively. In Movie theater 2 Deleuze will extend this argument to the new ‘electronic picture', which like Conceptual art transforms the plane of structure into a ‘flatbed' plane or ‘screen' that merely formats information, ánd with it our intérfaced brains. Today, conceptual exercise, photography and electronic technologies are usually all merely taken for granted by contemporary artwork, which will be also joyful to use “Wet;Gary the gadget guy” as well. But doesn'testosterone levels Deleuze and Guattari's believed need a even more critical software? Doesn't it need a minor wár-machine? What wouId this end up being in the situation of modern artistic exercise? Amongst various opportunities this document will explore the stylish implications of a Deleuzean image of ‘idea', and its position as the ‘immanent outdoors' of artwork's post-conceptual flight.
Kéywords
school of thought; Deleuze; Kant; contemporary art; photography; appearances; sublime; immanénce
Reported by:
1. Clara Eroukhmanoff. 2019. 'Reacting to terrorism with peacefulness, love and solidarity: ‘Jé suis Charlie', ‘Tranquility' and ‘I Heart MCR'.'Paper of International Political Theory15 (2). https://doi.org/10.1177/1755088219829884
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D0I: https://doi.órg/10.21476/PP.2017.33145
Copyright (d) 2017 Stephen Zepke
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