Showing posts with label deleuze. Show all posts
Showing posts with label deleuze. Show all posts
Wednesday, June 6, 2012
the internet + deleuze
Some interesting reading from art&education: Network Architecture and Electronic Civil Disobedience: Electronic Disturbance Theatre and Transversals of Rhizomatic Resistance
Thursday, May 3, 2012
deleuzional
I want to write a little about a couple of books that are changing my life. But before I do that, here is some recommended reading:
Gilles Deleuze/Claire Colebrook
Gilles Deleuze: Vitalism and Multiplicity/John Marks
Dialogues/Deleuze and Parnet
What is Philosophy?/Deleuze and Guattari
Bergsonism/Deleuze
Music and the Ineffable/Jankelevich
The Sonic Self/Cumming
The Nick of Time/Grosz
Introduction to Metaphysics/Bergson
Matter and Memory/Bergson
If you want to think about sound, music, temporality, and corporeality, I would recommend almost any combination of the above.
Gilles Deleuze/Claire Colebrook
Gilles Deleuze: Vitalism and Multiplicity/John Marks
Dialogues/Deleuze and Parnet
What is Philosophy?/Deleuze and Guattari
Bergsonism/Deleuze
Music and the Ineffable/Jankelevich
The Sonic Self/Cumming
The Nick of Time/Grosz
Introduction to Metaphysics/Bergson
Matter and Memory/Bergson
If you want to think about sound, music, temporality, and corporeality, I would recommend almost any combination of the above.
Labels:
bergson,
books,
deleuze,
foucault,
philosophy
Tuesday, April 17, 2012
d&g on art
From What Is Philosophy:
"Art preserves, and it is the only thing in the world that is preserved. It preserves and is preserved in itself, although actually it lasts no longer than its support and materials--stone, canvas, chemical color, and so on. [...] If art preserves it does not do so like industry, by adding a substance to make the thing last. The thing became independent of its "model" from the start, but also independent of other possible personae who are themselves artist-things, personae of painting breathing this air of painting." (164)
"Art preserves, and it is the only thing in the world that is preserved. It preserves and is preserved in itself, although actually it lasts no longer than its support and materials--stone, canvas, chemical color, and so on. [...] If art preserves it does not do so like industry, by adding a substance to make the thing last. The thing became independent of its "model" from the start, but also independent of other possible personae who are themselves artist-things, personae of painting breathing this air of painting." (164)
Labels:
aesthetics,
art,
deleuze,
guattari,
philosophy
Tuesday, March 27, 2012
thinking about design
I've been occupied for the last few days with my website. I recently decided that perhaps, just maybe, if I embrace social media, I will grow to love it. To that end, I purchased clarelouiseharmon.com, my very own domain name. In preparing to post my design portfolio, I began to cobble together some thoughts on design. It often troubles me, to participate in a media that, essentially, produces waste. Posters are disposable. The streets are filled with cheap fliers, disintegrating in the gutter. Soon enough the following (or some form of it) will be posted on my website. For now, here it is. I began with three questions: What is it to design? What does design do? Why is design important to me?
What is it to design, to make objects?
As a musician, I worked primarily with temporal forms that lack specific objects. Intangible and transient, the quintessence of the ineffable constituted my study and continues to inform my thought. Indeed, the musical media draw us near Deleuzian immanence: they offer an image of time, a sense of the conceivable yet inarticulable, the truth that is grasped only as it slips through our fingers.
What does design do? Design produces a negative dialectic between the material and the imaginary; the actual and virtual. In this way, design produces endless Becomings. The tension between material and virtual--incapable of converging in perfect Hegelian unity--spurs the creation of perceptions, contexts, interpretations. Design creates an open system through its process of Rhizomatic proliferation.
Why is design important to me? Existing as we do in this an-aesthetic epoch--plagued by hierarchicalization of every stripe--that which is beautiful is either dehumanized, commodified, or restricted. Presently, poignancy is inextricable from art objects past and present. Art was once connected to individual bodies, the hands that made it and the eyes that saw it. Art was once an experience, singular and special. Art was once a human behavior, available to all and fully embodied. Now, we must do the best we can. The mass-produced object is a reality. A century of mechanical reproduction has obliterated Benjamin’s aura. Class stratification has undergone an ostensibly irreversible process of calcification. As a designer, I am compelled to create objects that reference and honor the hands that made them. I am compelled to explore an expressive form that resists commodification by embracing its own reproducibility. I am compelled to provide an aesthetic experience to the passer-by, not just to the museum-goer.
What does design do? Design produces a negative dialectic between the material and the imaginary; the actual and virtual. In this way, design produces endless Becomings. The tension between material and virtual--incapable of converging in perfect Hegelian unity--spurs the creation of perceptions, contexts, interpretations. Design creates an open system through its process of Rhizomatic proliferation.
Why is design important to me? Existing as we do in this an-aesthetic epoch--plagued by hierarchicalization of every stripe--that which is beautiful is either dehumanized, commodified, or restricted. Presently, poignancy is inextricable from art objects past and present. Art was once connected to individual bodies, the hands that made it and the eyes that saw it. Art was once an experience, singular and special. Art was once a human behavior, available to all and fully embodied. Now, we must do the best we can. The mass-produced object is a reality. A century of mechanical reproduction has obliterated Benjamin’s aura. Class stratification has undergone an ostensibly irreversible process of calcification. As a designer, I am compelled to create objects that reference and honor the hands that made them. I am compelled to explore an expressive form that resists commodification by embracing its own reproducibility. I am compelled to provide an aesthetic experience to the passer-by, not just to the museum-goer.
Labels:
aesthetics,
benjamin,
deleuze,
website
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