By Brian Massumi
A surprise to notion brings jointly essays that discover Deleuze and Guattari's philosophy of expression in a few modern contexts. it will likely be of curiosity to all these in philosophy, cultural reports and artwork thought. the quantity additionally includes an interview with Guattari which truly restates the 'aesthetic paradigm' that organizes either his and Deleuze's paintings.
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Extra resources for A Shock to Thought: Expressions After Deleuze and Guattari (Philosophy & Cultural Studies)
And Parnet, Claire (1987) Dialogues, trans. Hugh Tomlinson and Barbara Habberjam, New York: Columbia University Press. Foucault, Michel (1977) Discipline and Punish, New York: Pantheon. Genosko, Gary (2001) ‘Guattari’s Schizoanalytic Semiotics: Mixing Hjelmslev and Peirce’, in Deleuze and Guattari: Critical Assessments of Leading Philosophers, vol. 3, ed. Genosko, London/New York: Routledge, 2001: 916. Guattari, Félix (1995) Chaosmosis: An Ethico-Aesthetic Paradigm, trans. Paul Bains and Julian Pefanis, Sydney/Indianapolis: Power Publications/University of Indiana Press.
34 The ‘univocity’ of being, in all its multiplicity (the ‘One-All’-ness of the world), is a major concern for Deleuze throughout his writing life. It is a particular concern of Expressionism in Philosophy (1990b), Logic of Sense (1990a), and Difference and Repetition (1994): ‘arrive at the magic formula we seek – PLURALISM = MONISM’ (Deleuze and Guattari, 1987: 20). References Artaud, Antonin (1999) ‘Dix ans que le langage est parti’, in Stephen Barber, The Screaming Body, New York: Creation Books.
Kant, Immanuel (1974) Anthropology from a Pragmatic Point of View, trans. M. J. Gregor, The Hague: Martinus Nijhoff. S. Pluhar, Indianapolis/Cambridge: Hackett. 8 2 BEAUTY LIES IN THE EYE Steven Shaviro 1 It has become quite fashionable to talk about the Sublime, as it is presented in Kant’s Critique of Judgement, in relation to postmodernism. But it is rare to find anyone who similarly considers Kant’s presentation of the Beautiful. 2 The Sublime seems more appropriate to contemporary taste because it is an aesthetic of immensity, excess, and disproportion.