By Simon O'Sullivan
In a sequence of philosophical discussions and creative case reports, this quantity develops a materialist and immanent method of smooth and modern paintings. The argument is made for a go back to aesthetics - an aesthetics of impact - and for the theorization of artwork as an accelerated and complicated perform. Staging a chain of encounters among particular Deleuzian suggestions - the digital, the minor, the fold, and so forth. - and the paintings of artists that place their paintings outdoor of the gallery or 'outside' of illustration - Simon O'Sullivan takes Deleuze's suggestion into different milieus, permitting those 'possible worlds' to paintings again on philosophy.
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Extra resources for Art Encounters Deleuze and Guattari: Thought Beyond Representation
Perhaps this might then be a job for a kind of art history, to reactivate the frozen event that is art, to map out the ‘past’ of the object but Rhizomes, Machines, Multiplicities and Maps 37 also the future potentialities; to map out the rhizomatic connections through time and space, and at the same time, everywhere and always to think about ourselves as being in rhizomatic connection with our objects of study and to allow these creative connections, these mappings, to transform such objects and ourselves.
Art practice functions as a kind of blockage in the smooth running of larger institutional, and indeed global, coding machines. It is in this sense that ‘the artist is the master of objects; he puts before us shattered, burned, broken-down objects, converting them to the regime of desiring machines … so as to cause desiring-machines to undermine technical machines’ (AO 32). In this place: the value of art is no longer measured except in terms of decoded and deterritorialized flows … It is here that art accedes to its authentic modernity, which simply consists in liberating what was present in art from its beginnings, but was hidden underneath aims and objects, even if aesthetic, and underneath recodings or axiomatics: the pure process that never ceases to reach fulfilment as it proceeds – art as ‘experimentation’.
The map expresses the identity of the journey and what one journeys through. It merges with its object, when the object itself is movement. (ECC 61) Again, this is not a binary opposition between mapping and tracing, for one can always become the other (‘You may make a rupture, draw a line of flight, yet there is still a danger that you will re-encounter organizations that restratify everything’ (ATP 9)). 44 Replacing representation here is a notion of pragmatics; the rhizome map is made to get things done, to move us onwards.