By Brian Massumi
A surprise to notion brings jointly essays that discover Deleuze and Guattari's philosophy of expression in a couple of modern contexts. will probably be of curiosity to all these in philosophy, cultural stories and artwork thought. the quantity additionally comprises an interview with Guattari which basically restates the 'aesthetic paradigm' that organizes either his and Deleuze's paintings.
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Additional resources for A Shock to Thought: Expression after Deleuze and Guattari
2 The Sublime seems more appropriate to contemporary taste because it is an aesthetic of immensity, excess, and disproportion. Whereas the Beautiful is one of harmony and proportion. It is as if Beauty were somehow oldfashioned, whereas the Sublime is considered more radical. 3 Among recent theorists, Jean-François Lyotard is the one who has talked most interestingly about the Sublime. In his account, the Sublime is what invokes the unpresentable, what keeps open that which would otherwise be foreclosed by information technologies and by commodification.
Its field of emergence is strewn with the after-effects of events past, already-formed subjects and objects and the two-pronged systems of capture (of content and expression, bodies and words) regulating their interaction: nets aplenty. In order to potentialize a new type, the atypical expression must evade these already established articulations. It must extract itself from captures ready and waiting, falling for an instant through the propositional mesh. ‘Extracted from the proposition, sense is independent of it, since it suspends the proposition’s affirmation and negation’ (Deleuze, 1990: 32).
Xxxix Part 1 THAT THINKING FEELING … everything which introduces doubt about the position of mental images and their relationship to one another … 1 BEAUTY Machinic repetition in the age of art1 Melissa McMahon The rising ground is no longer below, it acquires autonomous existence; the form reflected in this ground is no longer form, but an abstract line acting directly upon the soul. When the ground rises to the surface, the human face decomposes in this mirror in which both determinations and indetermination combine in a single determination which ‘makes’ the difference.