Deleuze and the Diagram: Aesthetic Threads in Visual Organization (Bloomsbury Studies in Continental Philosophy)
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Deleuze and the Diagram charts Deleuze's corpus according to aesthetic concepts such as the map, the sketch and the drawing to bring out a comprehensive concept of the diagram. In his interrogation of Deleuze's visual aesthetic theory, Jakub Zdebik focuses on artists that hold an important place in Deleuze's system. The art of Paul Klee and Francis Bacon is presented as the visual manifestation of Deleuze's philosophy and yields novel ways of assessing visual culture. Zdebik goes on to compare Deleuze's philosophy with the visual theories of Foucault, Lyotard and Simondon, as well as the aesthetic philosophy of Heidegger and Kant. He shows how the visual and aesthetic elements of the diagram shed new light on Deleuze's writings.
Deleuze conceptualized his theory as a form of painting, saying that, like art, it needed to shift from figuration to abstraction. This book focuses on the visual devices in Deleuze's work and uses the concept of the diagram to describe the relationship between philosophy and art and to formulate a way to think about philosophy through art.
the diagram must not create a catastrophe. Being itself a zone of scrambling, it must not scramble the painting.’65 The diagram is the germ of organization within chaos. In the ‘The Eye and the Hand’, the final chapter of The Logic of Sensation, Deleuze explains how the diagram within the context of a painting is involved in the passage of one form to another – or rather, where a single form modulates, ‘where we only move across a single form’.66 The example he gives comes from Bacon’s Painting
topological forms (or “singularities”) that shape these spaces’.137 These topological manifestations are forms of function, but the function is ontologically charged and has the possibility of actively linking elements of different intensity. The elements in question – exemplified by DeLanda as particular instances of geology, genetics and societies – are linked through different functions in intensity through analogy and not just through common terms. The link is through an analogy divested of
incarnated in actual material occurrences and therefore solidly bind together assemblages. He writes: On the other hand, given phase spaces and singularities become physically significant only in relation to material systems that are traversed by a strong flow of energy, Deleuze’s philosophy is also intimately related to the branch of physics that deals with material and energetic flows, that is, with thermodynamics. Chapter five of Difference and Repetition is a philosophical critique of 19th
blueprint of the conceptual becoming material. 9781441115607_Ch03_Final_txt_print.indd 140 3/30/2012 1:21:51 PM Chapter 4 The Extraordinary Contraction The extraordinary contraction refers to François Dagognet’s assessment of a mechanism of imaginative folding between incongruent elements. Anne Sauvagnargues isolates this expression in order to describe the non-metaphorical analogical process of Étienne Geoffroy Saint-Hilaire in Dagognet’s book, Le catalogue de la vie: études
perspective of a Nazi SS officer. Calmly recounting his actions as a man going through the ‘banality of evil’, dealing with the flesh in a detached manner, he is nevertheless caught by the titular furies as Soviet and Allied troops enter Berlin. The appearance of the furies at the end of the novel coincides with Bacon’s depiction of furies in the triptych at the end of war. The novel’s pages 9781441115607_Ch05_Final_txt_print.indd 179 3/30/2012 1:22:11 PM 180 Deleuze and the Diagram scream