Collection of recent essays on D&G, in relation to Aesthetics, Art, Politics and with a special e... more Collection of recent essays on D&G, in relation to Aesthetics, Art, Politics and with a special emphasis on the work of Guattari.
A book about the painter Lotta Ingman with essays in English and Finnish by Stephen Zepke and Mar... more A book about the painter Lotta Ingman with essays in English and Finnish by Stephen Zepke and Martta Heikkilä
Deleuzes und Guattaris Zurückweisung der Konzeptkunst ist allgemein bekannt und passt so garnicht... more Deleuzes und Guattaris Zurückweisung der Konzeptkunst ist allgemein bekannt und passt so garnicht zur derzeitigen Hegemonie der “post-konzeptionellen” Kunstpraktiken. Genauso unpassend erscheint Deleuzes ontologische und politische Abneigung gegen die Photographie, die „Schnappschüsse“ oder Repräsentationen des Werdens liefert, indem sie Klischeebilder unmittelbar in unserer Gehirne pflanzt, die dann unsere Handlungen und Reaktionen kontrollieren, indem sie uns der Fähigkeit zum kreativen Denken berauben. In Cinema 2 weitet Deleuze diese Argumentation auf das neue “elektronische Bild” aus das, wie auch die Konzeptkunst, die Ebene der Komposition in eine „Schneidetischebene“ oder einen „Bildschirm“ verwandelt, welche Informationen und mit ihnen unsere zu Schnittstellen gewordenen Gehirne einfach nur formatieren. Heutzutage werden Konzeptpraktiken, Photographie und digitale Technologien von der zeitgenössischen Kunst als selbstverständlich angesehen, die auch fröhlich „D&G“ anwendet. ...
What happens to urban studies when it is confronted with the radical, yet nonrelational immanence... more What happens to urban studies when it is confronted with the radical, yet nonrelational immanence of François Laruelle's non-philosophy? This is not a simple question of illuminating the and of our title, because for Laruelle this and is a non-, forcing us to ask how we engage with the relations constituting both the urban and its various forms of study through an approach that denies and rejects the constitutive possibility of relation itself. This question gives us a sense of the radicality of Laruelle's thought, but also of the wreckage left in non-philosophy's wake. Non-urban studies, if there should be such a thing, does not have, or emerge from, a relation to urban studies, but from its denial and destruction. This is a process that does not produce romantic objects of aesthetic appreciation, as in Derrida's love of ruins, but is instead a violent ruination that seeks a tabula rasa, a scorched-earth-policy applied to the very foundations of philosophy. This will be the story told here, one that begins with non-philosophy's unusual version of radical immanence. Laruelle offers a unique approach to immanence, detaching it from its previous philosophical examples, which, he argues, are unable to articulate the reality of the One, and in fact deny it. The problem is that the correlation of thought and being that for Laruelle invariably defines philosophy, "is not an addition of reality, but a subtraction."1 This correlation or auto-positioning of thought and being places Western philosophy in a prison of its own making, one that until now it has been unable to escape. Yet, as Laruelle points out, prison walls have always been "the great support for political writing,"2 and non-philosophy over-writes the structural limits of human thought and feeling to produce an "unreflected experience"3 of the Real/One, an experience
Thirty years on from the publication of Chaosmosis, Guattari's words invite an evaluation: 'The a... more Thirty years on from the publication of Chaosmosis, Guattari's words invite an evaluation: 'The aesthetic power of feeling seems on the verge of occupying a privileged position within the collective Assemblages of enunciation of our era.' While this privilege can be seen today in the realms of social networks, mass media and populist politics, its place in contemporary artistic practices is more ambiguous. Guattari is careful to separate 'aesthetic power' from 'institutional art', but the ontology of Chaosmosis nevertheless seems to find its model in the artistic avantgarde, and artistic affects and percepts are its privileged and recurring examples. Tracing the path of Guattari's prophecy through the last thirty years of contemporary art involves two distinct approaches: first, to analyse Guattari's reading of Duchamp, and to follow its trajectory through a generation of thinkers who utilised Guattari's approach to art, most notably Nicolas Bourriaud, Franco Berardi (Bifo), Maurizio Lazzarato and Eric Alliez; second, to confront Guattari's prophecy with the post-conceptual modes of art that now appear hegemonic, and that would seem to deny its efficacy. This we might say, is to approach our problem twice-once philosophically, and again from the point of view of contemporary art. As we shall see, these approaches lead in quite different directions.
Collection of recent essays on D&G, in relation to Aesthetics, Art, Politics and with a special e... more Collection of recent essays on D&G, in relation to Aesthetics, Art, Politics and with a special emphasis on the work of Guattari.
A book about the painter Lotta Ingman with essays in English and Finnish by Stephen Zepke and Mar... more A book about the painter Lotta Ingman with essays in English and Finnish by Stephen Zepke and Martta Heikkilä
Deleuzes und Guattaris Zurückweisung der Konzeptkunst ist allgemein bekannt und passt so garnicht... more Deleuzes und Guattaris Zurückweisung der Konzeptkunst ist allgemein bekannt und passt so garnicht zur derzeitigen Hegemonie der “post-konzeptionellen” Kunstpraktiken. Genauso unpassend erscheint Deleuzes ontologische und politische Abneigung gegen die Photographie, die „Schnappschüsse“ oder Repräsentationen des Werdens liefert, indem sie Klischeebilder unmittelbar in unserer Gehirne pflanzt, die dann unsere Handlungen und Reaktionen kontrollieren, indem sie uns der Fähigkeit zum kreativen Denken berauben. In Cinema 2 weitet Deleuze diese Argumentation auf das neue “elektronische Bild” aus das, wie auch die Konzeptkunst, die Ebene der Komposition in eine „Schneidetischebene“ oder einen „Bildschirm“ verwandelt, welche Informationen und mit ihnen unsere zu Schnittstellen gewordenen Gehirne einfach nur formatieren. Heutzutage werden Konzeptpraktiken, Photographie und digitale Technologien von der zeitgenössischen Kunst als selbstverständlich angesehen, die auch fröhlich „D&G“ anwendet. ...
What happens to urban studies when it is confronted with the radical, yet nonrelational immanence... more What happens to urban studies when it is confronted with the radical, yet nonrelational immanence of François Laruelle's non-philosophy? This is not a simple question of illuminating the and of our title, because for Laruelle this and is a non-, forcing us to ask how we engage with the relations constituting both the urban and its various forms of study through an approach that denies and rejects the constitutive possibility of relation itself. This question gives us a sense of the radicality of Laruelle's thought, but also of the wreckage left in non-philosophy's wake. Non-urban studies, if there should be such a thing, does not have, or emerge from, a relation to urban studies, but from its denial and destruction. This is a process that does not produce romantic objects of aesthetic appreciation, as in Derrida's love of ruins, but is instead a violent ruination that seeks a tabula rasa, a scorched-earth-policy applied to the very foundations of philosophy. This will be the story told here, one that begins with non-philosophy's unusual version of radical immanence. Laruelle offers a unique approach to immanence, detaching it from its previous philosophical examples, which, he argues, are unable to articulate the reality of the One, and in fact deny it. The problem is that the correlation of thought and being that for Laruelle invariably defines philosophy, "is not an addition of reality, but a subtraction."1 This correlation or auto-positioning of thought and being places Western philosophy in a prison of its own making, one that until now it has been unable to escape. Yet, as Laruelle points out, prison walls have always been "the great support for political writing,"2 and non-philosophy over-writes the structural limits of human thought and feeling to produce an "unreflected experience"3 of the Real/One, an experience
Thirty years on from the publication of Chaosmosis, Guattari's words invite an evaluation: 'The a... more Thirty years on from the publication of Chaosmosis, Guattari's words invite an evaluation: 'The aesthetic power of feeling seems on the verge of occupying a privileged position within the collective Assemblages of enunciation of our era.' While this privilege can be seen today in the realms of social networks, mass media and populist politics, its place in contemporary artistic practices is more ambiguous. Guattari is careful to separate 'aesthetic power' from 'institutional art', but the ontology of Chaosmosis nevertheless seems to find its model in the artistic avantgarde, and artistic affects and percepts are its privileged and recurring examples. Tracing the path of Guattari's prophecy through the last thirty years of contemporary art involves two distinct approaches: first, to analyse Guattari's reading of Duchamp, and to follow its trajectory through a generation of thinkers who utilised Guattari's approach to art, most notably Nicolas Bourriaud, Franco Berardi (Bifo), Maurizio Lazzarato and Eric Alliez; second, to confront Guattari's prophecy with the post-conceptual modes of art that now appear hegemonic, and that would seem to deny its efficacy. This we might say, is to approach our problem twice-once philosophically, and again from the point of view of contemporary art. As we shall see, these approaches lead in quite different directions.
Any attempt to understand Deleuze and Guattari's relation to contemporary artistic practices is i... more Any attempt to understand Deleuze and Guattari's relation to contemporary artistic practices is immediately confronted with the highly variegated and dispersed field of contemporary art. Nevertheless, there are three aspects of contemporary art that Deleuze and Guattari (in their work both together and alone) directly respond to: 1) the central position of photography, both conceptually and practically; 2) the unavoidable ubiquity of digital technology; 3) Duchamp's readymade and the 'conceptual turn,' or what is also known as postconceptual practice. By following, and sometimes anticipating Deleuze and Guattari's response to these axioms we will be able to extrapolate some of their views on art today. Additionally, this will allow us to construct some alternative art histories accounting for these aspects of contemporary artistic practices, genealogies that while often beginning in familiar places (photography, Duchamp, Benjamin) develop these in unexpected directions that often sit uncomfortably with our usual understandings of contemporary art. We set off, in other words, towards a minor contemporary art. In Logic of Sensation Deleuze claims that too many people mistake a photograph for a work of art because a photograph cannot—by definition—be art. To think that a photograph is a work of art is not, in other words, a question of taste, it is an ontological mistake. As Deleuze explains, " the photograph tends to reduce sensation to a single level, and is unable to include within the sensation the difference between constitutive levels " (Deleuze 2003, 91). The single level is that of representation, which imposes on sensation its conditions of possible experience, the a prioris of space and time, subject and object, and human consciousness. It is in this sense that the
Presented at The Multiple Arts of Schematism in the Depths of the Soul, 26-7 May 2023, Erasmus Sc... more Presented at The Multiple Arts of Schematism in the Depths of the Soul, 26-7 May 2023, Erasmus School of Philosophy, Erasmus University Rotterdam, in collaboration with V2_, Lab for the Unstable Media.
Paper given at the conference 'III Seminario Internacional Arte & Alteridad', Cauca University, C... more Paper given at the conference 'III Seminario Internacional Arte & Alteridad', Cauca University, Colombia. 18 November 2020
SYMPOSIUM: The Open Hand: A Call for Civic Debate
ST. PAUL ST. Gallery AUT, New Zealand, 16 - 17... more SYMPOSIUM: The Open Hand: A Call for Civic Debate
ST. PAUL ST. Gallery AUT, New Zealand, 16 - 17 May 2014
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ST. PAUL ST. Gallery AUT, New Zealand, 16 - 17 May 2014