1. Deleuze, Gilles., Félix. Guattari, and Brian. Massumi. A Thousand Plateaus : Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987.
How Deleuze’s philosophy and concepts can provide a framework to describe and reflect on artistic, social, political and cultural context. Utilizing these concepts in describing the artistic and identity embodied dimensions of the diasporic gesture. Deleuzian philosophy is not an easy one to comprehend, but at the same time, his extensive philosophical concepts allow ways to overcome the challenge of intertwining theories and practice.I begin this book that comprehence his collaborative work with Felix Guattari, and include a many of the concepts related to that research. Among many other interrelated concepts, the body without organ, the metaphor of the rhizome, nomadology and plane of composition will be discussed as way to reflect on how the embodied archival worldmaking can be described through Deleuze’s philosophy of concept.
“You never reach the Body without Organs, you can't reach it, you are forever attaining it, it is a limit. People ask, So what is this BwO?—But you're already on it, scurrying like a vermin, groping like a blind person, or running like a lunatic; desert traveler and nomad of the steppes. On it we sleep, live our waking lives, fight—fight and are fought—seek our place, experience untold happiness and fabulous defeats; on it we penetrate and are penetrated; on it we love...The BwO: it is already under way the moment the body has had enough of organs and wants to slough them off, or loses them. ( Thousand Plateaus Deleuze &Guttarri 150)
Deleuze’s major counter proposition to structuralism, namely his concept of immanence. Perhaps the most beautiful way to describe this ontological concept presupposing only one substance, an immanent plane which is “not defined by a Subject or an Object” (Deleuze 2002: 171), would be to compare it with a spider’s web, as Deleuze did in his study of Proust. For Deleuze, such a web is “a body without organs, a pure sensory surface, perceiving nothing but degrees of intensities of vibrations corresponding to no particular sense organ and thus to no exterior quality,” the web, which is the “search in the process of being made” (Khalfa, 2002: 77). Premising the plane of immanence entails operating with “machinistic assemblages that go beyond any systems of semiology, linguistics, or logics” (Deleuze and Guattari 1987: 148), with “diagrams” which have “neither substance nor form, neither content nor expression” but only “matter and
2. Deleuze, Gilles., Félix. Guattari, and Brian. Massumi. A Thousand Plateaus : Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987.
How Deleuze’s philosophy and concepts can provide a framework to describe and reflect on artistic, social, political and cultural context. Utilizing these concepts in describing the artistic and identity embodied dimensions of the diasporic gesture. Deleuzian philosophy is not an easy one to comprehend, but at the same time, his extensive philosophical concepts allow ways to overcome the challenge of intertwining theories and practice.I begin this book that comprehence his collaborative work with Felix Guattari, and include a many of the concepts related to that research. Among many other interrelated concepts, the body without organ, the metaphor of the rhizome, nomadology and plane of composition will be discussed as way to reflect on how the embodied archival worldmaking can be described through Deleuze’s philosophy of concept.
Deleuze’s major counter proposition to structuralism, namely his concept of immanence. Perhaps the most beautiful way to describe this ontological concept presupposing only one substance, an immanent plane which is “not defined by a Subject or an Object” (Deleuze 2002: 171), would be to compare it with a spider’s web, as Deleuze did in his study of Proust. For Deleuze, such a web is “a body without organs, a pure sensory surface, perceiving nothing but degrees of intensities of vibrations corresponding to no particular sense organ and thus to no exterior quality,” the web, which is the “search in the process of being made” (Khalfa, 2002: 77). Premising the plane of immanence entails operating with “machinistic assemblages that go beyond any systems of semiology, linguistics, or logics” (Deleuze and Guattari 1987: 148), with “diagrams” which have “neither substance nor form, neither content nor expression” but only “matter and functions”
Deleuze, Gilles, et al. Cinema 1 : The Movement-Image, University of Minnesota Press, 1986.
How Deleuze’s philosophy and concepts can provide a framework to describe and reflect on artistic, social, political and cultural context. Utilizing these concepts in describing the artistic and identity embodied dimensions of the diasporic gesture. Deleuzian philosophy is not an easy one to comprehend, but at the same time, his extensive philosophical concepts allow ways to overcome the challenge of intertwining theories and practice.I begin this book that comprehence his collaborative work with Felix Guattari, and include a many of the concepts related to that research. Among many other interrelated concepts, the body without organ, the metaphor of the rhizome, nomadology and plane of composition will be discussed as way to reflect on how the embodied archival worldmaking can be described through Deleuze’s philosophy of concept.
Deleuze’s major counter proposition to structuralism, namely his concept of immanence. Perhaps the most beautiful way to describe this ontological concept presupposing only one substance, an immanent plane which is “not defined by a Subject or an Object” (Deleuze 2002: 171), would be to compare it with a spider’s web, as Deleuze did in his study of Proust. For Deleuze, such a web is “a body without organs, a pure sensory surface, perceiving nothing but degrees of intensities of vibrations corresponding to no particular sense organ and thus to no exterior quality,” the web, which is the “search in the process of being made” (Khalfa, 2002: 77). Premising the plane of immanence entails operating with “machinistic assemblages that go beyond any systems of semiology, linguistics, or logics” (Deleuze and Guattari 1987: 148), with “diagrams” which have “neither substance nor form, neither content nor expression” but only “matter and functions”