Deleuze logic of sensation pdf

With place, the organic, the material, with rhythm. Alternative rhythms of inquiry, of connecting. Rhythm that is always an event, not some predictable repetition.

Rhythm that brings about a kind of LivingSensingExperimenting with place, the organic, the material: [i]nhaling the atmosphere as it breathes the air, on the outward breath of exhalation it weaves its lines of speech, song, story and handwriting into the fabric of the world. Ulmer, , p. It restrains and constrains that previous kind of slow MovementWalkingSensing that was able to prioritise connections. Humans, believing they are the sole author of the land, the Earth.

They set up camp, lay down their mark, make it expressive see Fig. Territorialising expressive visual marks: a flag, a fence, a signature—Australia.

A boundary between the interior and exterior, between home and chaos. Ontological violence. Just look at the territorialising lines of academia see Fig. Knowledge seeking to create some better world—seeking some horizon—engaging in transcendental thinking. We are not experts! We are fools—foolish in our pursuits of shoring up knowledge.

You cannot shore up the earth, territorialise it. The earth will resist. A continuous motor of desire—desiring affect. Affect seeking experimentation. Our territorialising acts of territorialisation can always, and are always already, coming undone … unstuck … unhinged … let the wind blow them away, scatter them to the winds. Can you see it? Piles and piles of shored knowledge, all those signatures, all those books lining the shelves of academic libraries marking out an expression of territorialisation, blowing away … scattered to the wind in order to discover a belief in this world, as it is see Fig.

Legs and tails on the ready in Anticipation. I have work to do! You just roll in and out according to the forces of the moon. What type of work is that? Henderson p. Research and writing is my work. I am tired of the response-ability of this work. Re-minding-learning of the need to move body-mind, I walk. Produce something. Say something intelligent. Commit suicide. An attempt to become one with sun, sand, bird, wind. Ready to commit suicide. Clayton: Faculty of Education, Monash University.

A shift in time from the habitual forms of walking that lead from A to B along the lonely corridors of academia. A smooth space is entered into. It enable[s] an immersion in the present moment, in time and in space, that often eludes us in the press of normative expectations, of habitually repeated thoughts, and practices and structures Davies, , p. Our main tools might be our words but see as thinking-tools not primarily as tools for com- munication. Solving problems of the earth through thought, as salient Einstein claimed possible.

Understanding myself…Oil, money, life, love, theory, matter, particles, pixels, ecologies, technologies, biobodycompost, community, sustainability…dream…gift…death… Reinertsen, , p.

Rather, count upon the contingency of an encounter with that which forces thought to rise up and educate the absolute necessity of an act of thought or a passion to think. Henderson destruction of an image of thought which presupposes itself and the genesis of the act of thinking in thought itself Deleuze, , p. Becoming-unhinged in thought that rises up—an act of thought or a passion to think.

A desire to MoveThinkSenseExperience something other than the deadening life of the academicwritingmachine and its desire for critique and expert status. I make, remake and unmake my concepts along a moving horizon, from an always decentered centre, from an always displaced periphery which repeats and differentiate them. But death as a concept of the here-and-now—an object of encounter. Intense mo ve ment of wind brings with it rapid mo ve ment in the contours of the shifting sands. Rain and colliding particles place a demand on the body-mind to navigate mo ve ments in new ways.

Gravitational forces seem to evaporate as wind and rain threaten to override any sense of a stable walking-writing body-mind. Maybe it is this intensity of movement that brings with it encounters with death as zero intensity see Fig.

Textures of the decaying process that unfolds over time. An experience of death as zero intensity. An inorganic body entering into new assemblages: eyes-hands-feet-phone-technology-sand-animal- wind-rain-noses-tails-mouths-teeth-subatomic particles bring about this encounter with death as vital life.

Assembling involves no soul, no death, and no reproduction. Assemblages do not produce more of their own kind; they do not belong to a kind; they are not sustained by an essence. Dema, , p. The individual is a product of power. The group must not be the organic bond uniting hierarchized individuals, but a constant generator of de-individulization.

Of bringing to bear the fragile state of so-called academic knowledge that is so des- perately sought after in some crazed frenzy, driving a politics of speed. A constant production of so-called knowledge that screams of the product of power and the privileged status of writing Ulmer, It about being bodily attuned to opportu- nities in the movement, going with the flow. Experiencing walking-writing as mo ve ments that are about being immersed in an experience. Experience opens a fold of Being, a fold that can be refolded and unfolded.

These are mo ve ments that are all about experimentation that is dangerous, yet exhilarating. It experiments with the unknown, with openness, with difference. In my walking-writing, on and with, the shifting sand thought begins to ponder on knowledge and its fragility; and in its fragility, its beauty to change, to differ- entiate, to release all sorts of emissions, sub-atomic particles. Do the kite surfers who come to ride the waves see Fig. Can one walk-write with this sort of rhythm?

Is it possible to engage in the kind of walking-writing that Ulmer advocates is vital for making and creating spaces of difference within the academy? Walking-writing as a creative intervention that breathes in the air in order to write, to inhale the atmosphere in order to think, that dares to walk as a means of enacting a slow ontology: taking language into spaces of images, sound, light, darkness—shifting it from its hegemonic position in texts in order to expand language, allow it to breathe, to see the light of day.

Walking-writing on, and with, the shifting sands in order to write with knowledge, not about knowledge. This is why it is linked with a politics of speed. And you will see the mo ve ments that are always, already taking place. Becoming-differently productive calls for new ways of writing. Let us slow down and take a walk upon the shifting sands see Fig. Intervene with a creative intervention that exposes the fragility of knowledge in all its beauty. To set life free. Henderson Fig. Violent affect: Literature, cinema and critique after representation.

Lincoln: University of Nebraska Press. Adkins, B. Edinburgh: Edinburgh University Press. Baugh, B. Parr Ed. Davies, B. Listening to children: Being and becoming. London: Routledge. Make random marks lines-traits ; scrub, sweep, or wipe the canvas in order to clear out locales or zones color-patches ; throw the paint, from various angles and at various speeds.

It is precisely these givens that will be removed by the act of painting, either by being wiped, brushed, or rubbed, or else covered over. Deleuze To begin, consider the genesis of a painting, which Deleuze identifies as the preparatory work where the painter begins to identify what they want these givens on the canvas to be. Then, as the act of painting begins, the chaos unfolds.

Third, Deleuze explores what the nature of the painting itself is. He begins by looking at the Figure. The Figure is the body, the head—that which is made of flesh. And a figurative form of the Figure is the intentionally representative sketch of the Figure. Another way to understand this is by understanding what it is not.

Deleuze examines three painting styles: figurative, abstract, and expressionist. This is in contrast with artists like Jackson Pollock, who allowed the diagram to consume the entire painting to the point of just lines and color without contour.

Bacon, on the other hand, by confining the diagram, allows the Figure to remain a part of the painting. Deleuze delves into some of the techniques which allow Bacon to obtain the Figure. One such technique is isolating the Figure within the frame of the painting. Another technique Bacon uses is the deformation of the physical traits of the object in the painting, which out of this comes the Figure. In doing so, the role of the Figure is fulfilled, acting as a mediator between the real image and the sensation Bacon wishes to render visible.

While he would likely be the first to admit that his technical choices are rudimentary Deleuze 2 , I posit that the true mastery lies in deciding which rudimentary technique to use. Czy komputer jest podmiotem poznania? Ariadna, una estrella danzante en el cielo.

Nietzsche and Philosophy edited book with Michael Hardt. In the new regime of communication and information-machines with which he thought we are confronted today, he came to believe that such a conversion, such an empiricism, such a new art and will-to-art, was what we need most. Lorenc — — Ruch Filozoficzny 2 2. No categories specified categorize this paper. Edit this nietzschf Mark as duplicate Export citation Find it nietasche Scholar Request removal from index Translate to english Revision history.

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