Assemblage ist ursprünglich in der bildenden Kunst zu einem Begriff mit besonderer Bedeutung geworden, der eine Art von Kunstwerken bezeichnet: Collagen mit. Assemblage – Wikipedia. Assemblage ist urspr. Гјnglich in der bildenden Kunst zu einem Begriff mit besonderer Bedeutung geworden, der eine Art von Kunstwerken bezeichnet: Collagen mit plastischen Objekten, die auf einer Grundplatte befestigt sind. So entstehen Kunstwerke mit reliefartiger Oberfl. Г¤che. Auch dreidimensionale Objekte k. Г¶nnen als Assemblage bezeichnet werden. Der Begriff wird als Analogie auch in anderen Bereichen eingesetzt, beispielsweise in der postmodernen Philosophie. In der Bildhauerei hat vor allem Auguste Rodin ab etwa 1. Technik der Assemblage als innovative Arbeitsweise eingef. Гјhrt. Der KГјnstler legte ein Reservoir von Abg. Гјssen, Reduktionen und Vergr. ößerungen bereits geschaffener Werke an, aus dem er durch Neukombination von KГ¶rpern, KГ¶pfen, Armen, Beinen und anderen skulpturalen Elementen neue Sinnzusammenh. Mille Plateaux: Auteur: Gilles Deleuze et Félix Guattari: Genre: Théorie politique: Éditeur: Minuit: Collection: Critique: Date de parution: 1980: Nombre de pages. PARRHESIA NUMBER 1 • 2006 • 62 – 87 Nomadology or Ideology? Zizek’s Critique of Deleuze1 Robert Sinnerbrink Slavoj Zizek’s recent book, Organs without. Gilles Deleuze, a French philosopher, and Félix Guattari, a French psychiatrist and political activist, wrote a number of works together (besides both having. A Thousand Plateaus: Capitalism and Schizophrenia (French: Mille plateaux) is a 1980 philosophy book by French authors Gilles Deleuze and Félix Guattari. Seria wykładów interdyscyplinarnych, zespół wykładowców, semestr letni, 30 godzin, 2 punkty ECTS. Termin i miejsce: wtorek, godz. 18.45-20.15, Collegium Maius. Г¤nge erschlie. Гџen konnte. Sp. Г¤ter, aber vor der kunsthistorischen Etablierung des Begriffs arbeiteten KГјnstler wie Marcel Duchamp, Pablo Picasso, Louise Nevelson, Wolfgang Paalen, Raoul Hausmann und Elsa von Freytag- Loringhoven mit der Kombination vorgeformter nat. Angela Melitopoulos and Maurizio Lazzarato Assemblages: Félix Guattari and Machinic Animism. Today, it seems interesting to me to go back to what I would call an. 1 INTRODUCTION: RHIZOME Illustrations by Marc Ngui. Please consider contributing to Marc's crowd funding campaign at www.patreon.com/marcngui if you. Гјrlicher oder hergestellter Materialien, Objekte oder Fragmente.[1] Allgemein bekannt ist Picassos Verwendung verschiedenster vorgefundener Materialien (Holz, Metall, Glas) und Gegenst. Г¤nde, die er zu einem neuen Ganzen zusammenf. Гјgte. Beispiele sind Picassos Stiersch. Г¤del (TГЄte de taureau), von 1. Kombination aus Fahrradlenker und Sattel, das Absinthglas oder die Frau mit Kinderwagen. Picasso nutzte das k. Гјnstlerische Verfahren bereits 1. Гјr dreidimensionale kubistische Konstruktionen.[2]Der Begriff Assemblage wurde in den 1. Jahren von Jean Dubuffet aufgenommen, um eine seiner Werkgruppen zu bezeichnen. William C. Seitz, einem der Kuratoren der Mo. MA- Ausstellung The Art of Assemblage, Гјbernommen. Infolge dieser stark rezipierten Ausstellung ist der Begriff in die kunstgeschichtliche Literatur eingegangen. KГјnstler wie Alberto Burri, Louise Bourgeois, Joseph Cornell, Edward Kienholz, Louise Nevelson, Martial Raysse, Hans Salentin und Kurt Schwitters nahmen diese Weiterentwicklung der Collage in ihr Werk auf. Daniel Spoerri entwickelte seine Fallenbilder als Assemblagen, Robert Rauschenberg verband Assemblage mit Malerei zu Combine Paintings, w. Г¤hrend Christo und Jeanne- Claude die Assemblage zur Verpackungskunst weiterentwickelten. Auch die Akkumulation der Nouveaux RГ©alistes kann als Weiterentwicklung oder verwandtes Ph. Г¤nomen gesehen werden. Wolf Vostell begann Ende der 1. Jahre Fernsehger. Г¤te in seine Objektbilder zu integrieren. Er schuf Skulpturen, bei denen Malerei, Autoteile, Fernseher, Videokameras und Monitore verbunden wurden. Die franz. Г¶sischen Autoren Gilles Deleuze (1. FГ©lix Guattari (1. Begriff der Assemblage eine sozialwissenschaftliche Theorie konstruiert: Sie verstehen unter Assemblage keine Ansammlungen von Gleichartigem, sondern ein „kontingentes Ensemble von Praktiken und Gegenst. Г¤nden, zwischen denen unterschieden werden kann (und) die entlang den Achsen von Territorialit. Г¤t und Entterritorialisierung ausgerichtet“ werden k. Г¶nnen. Damit vertreten sie die These, dass bestimmte Mixturen technischer und administrativer Praktiken neue RГ¤ume erschlie. Гџen und verst. Г¤ndlich machen, indem sie Milieus dechiffrieren und neu kodieren.[3] Der mexikanische Philosoph Manuel De Landa (* 1. Sichtweise in einer Theorie der Assemblage weiterentwickelt.[4]Hingegen verwendet die US- amerikanische Soziologin und Wirtschaftswissenschaftlerin. Saskia Sassen den Begriff nicht zur Theoriebildung, sondern in einer deskriptiven Weise.[5]William C. Seitz: The Art of Assemblage. Ausstellung. The Museum of Modern Art, New York 1. Stephan Geiger: The Art of Assemblage. The Museum of Modern Art, 1. Die neue Realit. Г¤t der Kunst in den fr. Гјhen sechziger Jahren. Dissertation Universit. Г¤t Bonn 2. 00. 5. Schreiber, MГјnchen 2. ISBN 9. 78- 3- 8. William C. Seitz: The Art of Assemblage. Ausstellung. The Museum of Modern Art, New York 1. Assemblage. oxfordreference. Dezember 2. 01. 2: „The practice dates back to Picasso's Cubist constructions made from 1. Gilles Deleuze, Felix Guattari: A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis 1. 98. S. 5. 04f. ↑Manuel De Landa: A New Philosophy of Society: Assemblage Theory and Social Complexity. Continuum, London 2. Saskia Sassen: Die Dialektik von Welt und Nation. Zur Transformation von Territorium, Autorit. Г¤t und Recht. In: Bl. Г¤tter f. Гјr deutsche und internationale Politik (Hrsg.): Das Ende des Kasino- Kapitalismus? Beitr. Г¤ge, von Elmar Altvater, Samir Amin, Mike Davis, Heiner Flassbeck, Nancy Fraser, Thomas L. Friedman, Saskia Sassen, Harald Schumann, Ernst Ulrich von Weizs. Г¤cker u. a. Bl. Г¤tter Verlag, Berlin 2. ISBN 9. 78- 3- 9. Gilles Deleuze (Stanford Encyclopedia of Philosophy). Deleuze was born in Paris to conservative, middle- class parents, who. Normandy during the Occupation, he lived in the. Paris his entire life. His personal life was. Fanny (Denise Paul) Grandjouan, a French translator of D. H. Lawrence. and raised two children with her. He rarely traveled abroad, although. United States in 1. The most dramatic event. Occupation, Deleuze's. Nazis for resistance activities and. Auschwitz. When the Germans began their occupation of France in June 1. Deleuze's family was on vacation in Normandy, and he spent a year. Deleuze traced his initiation into literature. Deauville named. Pierre Halbwachs (son of the sociologist Maurice Halbwachs), who. Gide and Baudelaire. Early on, he. recalled, philosophical concepts struck him with the same force as. After the. Liberation, Deleuze returned to Paris and undertook his. Lycée Henri IV, and then studied the history of. Sorbonne. He was taught by Jean Hippolyte and. Ferdinand Alquié, whom he “loved and admired. Georges Canguilheim and Maurice de. Gandillac. Like many of his peers he was as influenced by the writings. Jean- Paul Sartre as he was by the work of his academic mentors. Deleuze's historically oriented study at the Sorbonne led him to. Empiricism and Subjectivity (1. Hume. In an era in which peers like Foucault and Derrida, students at. Ecole Normale Supérieure, concentrated on “the three. H's” (Hegel, Husserl, Heidegger), Deleuze's decision to write on. Hume was already a provocation, early evidence of the. From 1. 95. 3 to 1. Deleuze. published little, moving among various teaching positions in Paris and. It was also during this time that he contracted the. In 1. 96. 2, Nietzsche and Philosophywas published to. Deleuze's reputation in academic. He followed this initial success with Kant's Critical. Philosophy (1. 96. Proust and Signs (1. Bergsonism (1. 96. In 1. 96. 8 he published Difference and. Repetition as his primary thesis for the doctorat. Etat, with Spinoza and the Problem of Expression as. The next year, 1. Deleuze. First, he found a permanent teaching position in. Paris, at the experimental campus of the University of Paris VIII in. Vincennes (which later moved to its current location in St. Denis); he. gave weekly seminars at this institution until his retirement in. Second, he published another major text in his own name. Logic of Sense. But most importantly, it was then that he met. Félix Guattari, a radical psychoanalyst and political militant. Their first joint volume. Anti- Oedipus (1. France, a veritable. Deleuze into the. They followed this with Kafka. Toward a Minor Literature (1. Difference and Repetition for the. Deleuze's masterwork, A Thousand Plateaus. The 1. 98. 0s were a decade of independent works for Deleuze: Francis. Bacon: Logic of Sensation (1. Cinema I: The. Movement- Image (1. Cinema II: The Time- Image (1. Foucault (1. 98. 6); and The Fold: Leibniz and the. Baroque (1. 98. 8). He then resumed his collaboration with Guattari. What is Philosophy? His. final years were spent in very ill health, although he did manage to. Immanence: A Life” in. November 4, 1. 99. Before he ever wrote “in his own name” in Difference. Repetition and Logic of Sense, Deleuze wrote a. Hume. Bergson, Nietzsche, Kant, and Spinoza). In writing these works. Deleuze sought to unearth the presuppositions he absorbed in his. Deleuze thus set about trying to accelerate. Hegel, whom he saw as emblematic of. Deleuze attacks Hegel and others in what we can. Deleuze did not—the “identitarian”. Kant. whose genius, as Deleuze explains in Kant's Critical. Philosophy (1. 96. Deleuze characterized his own work as a philosophy of. Kant himself had failed to realize fully the. First, Kant made the field of consciousness immanent to a. Deleuze was influenced in this regard by his reading of. Sartre's 1. 93. 7 essay “The Transcendence of the Ego.”). Already in his Hume book, Empiricism and Subjectivity (1. Deleuze had pointed to an empiricist reversal of Kant. Where Kant's. question had been “How can the given be given to a. Hume's question had been “How is the subject. In his mature. work, Deleuze argues for an “impersonal and. Deleuze calls the syntheses of. The passive syntheses responsible. Each passive synthesis is serial, never singular. Together. the passive syntheses at all these levels form a differential field. Of course. Deleuze never simply proclaims this as a bald thesis, but develops a. Taking all this. into account, Deleuze summarized his differential, immanent and. This is cashed out in terms. State,” the “whole,”. In other words—and this is a pragmatic perspective. Deleuze never deviated—philosophy aims not at stating. Deleuze's second criticism of Kant claims that he had simply presumed. But. already in 1. Salomon Maimon, whose early critiques of Kant helped. Kantian tradition, had argued that Kant's critical. In other words, Maimon called for. Maimon found a solution to this. These two Maimonian exigencies—the search for the. Deleuze's early monographs. Nietzsche and Philosophy (1. Nietzsche completed and inverted. Kantianism by bringing critique to bear, not simply on false claims to. Nietzsche's genetic method, and the will- to- power was his principle of. Deleuze's anti- Hegelianism is shown in his focus on the. Nietzsche “noble.” These. In Bergsonism (1. Deleuze develops the ideas of. From Maimon's reading of Kant, we know that Deleuze needs. The positive name for that genetic condition is the. Deleuze adopts from the following Bergsonian. The notion of the possible, Bergson holds in Creative. Evolution, is derived from a false problem that confuses the. When we think of the possible as somehow. We then reverse the. We then say that the. By contrast. Deleuze will reject the notion of the possible in favor of that of the. Rather than awaiting realization, the virtual is fully real. The fundamental characteristic of the virtual, that which means it. Deleuze always held the critical axiom that the ground cannot resemble. For. instance, Deleuze criticizes Kant for copying the transcendental field. That is, empirical experience is. Kant says this empirical identity is only possible if we can posit. Transcendental Unity of Apperception, that is, the possibility of. I think” to all our judgments. Instead of this. smuggled- in or “traced” identity, Deleuze will want to. Deleuze still wants to. The virtual is. the condition for real experience, but it has no identity; identities. Deleuze) a. differential field. The Deleuzean virtual is thus not the condition of. As we have seen, the virtual, as genetic ground of the actual, cannot. Deleuze adopts “multiplicity”. Bergson as the name for such a purely differential field. In this. usage, Deleuze later clarifies, “multiplicity” designates. The. multiple as predicate generates a set of philosophical problems under. With multiplicity, or the. Bergson's distinction of qualitative. Time and Free Will). A. typological difference between substantive multiplicities, in short. In sum, then, against the “major” post- Kantian tradition. Fichte, Schelling, and Hegel, Deleuze in effect posited his own. Kantian trio of Maimon, Nietzsche, and. Bergson. To these he added a trio of pre- Kantians, Spinoza, Leibniz. Hume, but read through a post- Kantian lens. We have already. touched on Deleuze's reading of Hume. Let us now turn to Spinoza, for. Deleuze's admiration was seemingly limitless; for Deleuze. Spinoza was the “prince” or even the “Christ”. There are many Spinozist inheritances in Deleuze, but. Univocity—as opposed to its great rivals, equivocity. Deleuze's term for his project in Difference. Repetition), in which difference would no longer be. The result is a Spinozism minus substance, a. In univocity, as Deleuze reads. Spinoza, the single sense of Being frees a charge of difference. In univocal ontology being is said in a single. What is that difference? Difference is difference in degrees. French words puissance and pouvoir. In. social terms, puissance is immanent power, power to act. Deleuze). In the most. Deleuze develops throughout his career. Here. we see the empiricist theme of the “externality of. In Deleuze's favorite example, the. Although Deleuze wrote a touching and certainly important book in. Foucault after the latter's death in 1. Deleuze's readings of other philosophers is. Leibniz, to whom, it must be recalled, Maimon appealed in his. Kant. In 1. 98. 8, Deleuze published a book on Leibniz. The Fold: Leibniz and the Baroque, which added new. Leibniz that appeared in Deleuze's earlier. Baroque, and a attempt to define a. Leibnizianism in terms of contemporary artistic and scientific. While The Fold is a fascinating work, we will. Deleuze's early reading of Leibniz, which plays an. Difference and Repetition. Deleuze pushes Leibniz's thought to a point where Leibniz could never. This is the. point where one begins to consider the virtual domain on its own. On this score, Deleuze often likes to cite Jorge Luis Borges's famous. The Garden of the Forking Paths,” in which such a. Chinese. philosopher named Ts'ui Pên: “In all fiction, when a man. In the almost unfathomable Ts'ui Pên, he. In Ts'ui. Pên's work, all the possible solutions occur, each one being the. Leibniz had in fact. Theodicy. In Deleuze's transformation of the Leibnizian /. Borgesian image, the three Kantian transcendent Ideas of God, World. Self all take on a completely different demeanor. First, God is no. Being who compares and chooses the richest compossible world. Process that affirms incompossibilities and. As the notion of “process” here. Deleuze's relation to Whitehead is one of the most important. Deleuze himself rarely discussed Whitehead. The Fold.) Second, the. Deleuze puts it. (borrowing a word from Joyce) and no longer a world. In contrast. Leibniz could only save the “harmony” of this world by. Third, selves. or individuals, rather than being closed upon the compossible and. The “monadic”. subject, as Deleuze puts it, becomes the “nomadic”. In other words, if Deleuze is Leibnizian, it is only by. God who chooses the best of all possible.
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