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Rethinking Sensibility: On The Power Of Art To Invoke A New People And A New Earth
Tel Aviv University, Israel
On the background of Deleuze’s rejection of Kantian Aesthetics which attached sense to common-sense along with his rejection of the model of representation which is responsible for the reduction of the sensible to the recognizable, Deleuze introduces us a new kind of sensibility. An unconditioned sensibility that can only be sensed. He names it: “The being of the sensible”. In some sense, Deleuze tells us, the being of the sensible is insensible and imperceptible. In this context, art assumes a central role in Deleuze’s philosophy. Deleuze sees the work of art as a domain in which the being of the sensible reveals itself. This leads him to assert that art has the ability to invoke a new people and a new earth. My point of departure is not solely the argument that aesthetics and politics are intrinsically related in Deleuze’s philosophy, rather I contend that the quality of this relationship can be analyzed and understood by concentrating on the manner in which Deleuze uniquely comprehends the concept of the ‘sensible’.
My aim is to analyze the triad relations, art-aesthetics-politics, in order to explore how ‘the possible’ become an aesthetic category in Deleuze’s thought. How does the de-territorialization and re-territorialization of the field of experience constitute lines of flight from our encoded reality? What kind of political potential is inherent in the insensible or whether the identification between politics and aesthetics can lead to the end of politics?
2:30pm - 3:00pm
PAINTING TERRITORIALIZATIONS: cartography as a piece of art
Olivia Pires Coelho, Rafael Moraes Limongelli, Renato Mendes de Azevedo Silva
Fernand Deligny (1913-96) was a french educator who worked with autistic children, becoming an important reference in special education, but also in contemporary philosophy. One of the most notorious contributions was the cartography of children’s movement - which was an attempt to register how children interacted with space. Rejecting the standard mapping method, Deligny focused on observing and registering (rather than explaining) the wander lines and errant lines. Tracing paths to see the gestures and movements, creating tangled lines - that are very curious and have been creating some curiosity within the artistic field, along with philosophy. In 2012, at 30th Sao Paulo Art Biennial (Brazil), Deligny’s work was exposed as piece of art; it was not the first time his work was understood under its artistic potential, but it was one of the first times this discussion took place in Brazil. Deligny shared a close relationship with Felix Guattari and inspired Gilles Deleuze’s discussions on Essays Critical and Clinical regarding children and cartography. This paper attempts to articulate the territorialization process that Deligny put into art along with Deleuze and Guattari’s concept of multiplicity. We would like to argue that it is possible to understand Deligny’s maps as pieces of art that contemplates multiplicity.Such as Deleuze and Guattari argued in A Thousand Plateaus, Deligny also created maps , that we call a painted register of territorialization, based on experimentation, rather than orientation, rhizomatic experimentations of space, creating real works of art based on the register of children’s art of movement.
3:00pm - 3:30pm
Twittering Machine: Between Painting and Philosophy
Luis Armando Hernández Cuevas
Tecnológico de Monterrey, Mexico
Does painting have something to assert to philosophy? Is it possible to ponder the question of thinking through pictorial intuitions? Following the footprints of the philosopher Gilles Deleuze and the painter Paul Klee, the contribution ditches these enquiries at studying the concepts of gray point, color, line, chiaroscuro, arrow, diagram, among others. The thesis sketched in it is that it is in the painting of Klee titled Twittering Machine in which all these notions are concentrated, allowing us to think this paint as the announcement of a system. A system that, sensing symptoms and presenting them in signs, is offered as a simulacra system in which not only the very expression of the painting is teased, but also the very expression of thinking.