Deleuze on Francis Bacon’s Paintings: A Performative Witnessing of Coloring Sensation Among Schoolchildren

2021 ◽  
pp. 107780042110325
Author(s):  
James G. Deegan
Keyword(s):  
Primary School ◽  
20Th Century ◽  
Gilles Deleuze ◽  
The Body ◽  
Francis Bacon ◽  
Political Aesthetics

Inspired by the work of the Irish-born British figurative painter, Francis Bacon, Gilles Deleuze, one of the most influential French philosophers of the 20th century, wrote a book titled, Francis Bacon: The Logic of Sensation. In this book, Deleuze creates novel concepts of coloring sensation that rely on relations between colors or the juxtaposition of tints and hues in relation to feelings or perceptions, resulting from something that happens to or comes into contact with the body. Deleuze illuminates how Bacon uses the figure, colors, contours, and broken tones to show raw and dark motifs such as horror, vulnerability, and brutality. Using loosely connected scenes, narrative interruptions, storyline turns, recitations, and pedagogical moments, I show a tissue of coloring sensations among children in a primary school that will not be stilled, calmed, or dimmed. In this way, I pursue a desiring, political aesthetics of pedagogical, scholarly, and life-wide meanings.

BECOMING DOMESTIC IN HESIOD'S WORKS AND DAYS

Ramus ◽  
2020 ◽  
Vol 49 (1-2) ◽  
pp. 89-110
Author(s):  
Ben Radcliffe
Keyword(s):  
Samuel Beckett ◽  
Gilles Deleuze ◽  
The Body ◽  
Francis Bacon ◽  
As If

The work of Gilles Deleuze is populated by literary and artistic figures who become stuck, confined, and exhausted: he has written about the characters of Samuel Beckett, for instance, who are incapacitated by a compulsion to count and sort; Sacher-Masoch's protagonists, who share their author's eponymous desire to defer endlessly the sexual act; and the notorious figures in the paintings of Francis Bacon, determined but unable to escape the confines of their own bodies. What accounts for Deleuze's interest in scenes of stasis and immobility? These figures, and others like them, seem to appeal to Deleuze precisely because their corporeal limitations coincide with intense and inscrutable affects, as if Spinoza's maxim, ‘we do not even know what the body can do’, is true especially when the body's capacities appear most restricted. This is an aspect of Deleuze's thought that complicates his reputation as a philosopher of limitless becoming, movement, and synthesis.

Triptychs, Eternity and the Spirituality of the Body

2009 ◽  
Vol 3 (2) ◽  
pp. 259-273 ◽  
Author(s):  
D. C. Ambrose
Keyword(s):  
The Body ◽  
Francis Bacon ◽  
Philosophical Study ◽  
Spiritual Sensation

This paper develops a detailed reading of Deleuze's philosophical study of Bacon's triptychs in Francis Bacon: The Logic of Sensation. It examines his claims regarding their apparent non-narrative status, and explores the capacity of the triptychs to embody and express a spiritual sensation of the eternity of time.

Simone de Beauvoir's Philosophy of Individuation

2017 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Sexual Difference ◽  
Gilles Deleuze ◽  
The Other ◽  
Simone De Beauvoir ◽  
Second Sex ◽  
Other Hand ◽  
The World

Most studies of Simone de Beauvoir situate her with respect to Hegel and the tradition of 20th-century phenomenology begun by Husserl, Heidegger, and Merleau-Ponty. This book analyzes The Second Sex in light of the concepts of becoming, problematization, and the Other found in Gilles Deleuze. Reading Beauvoir through a Deleuzian lens allows more emphasis to be placed on Beauvoir's early interest in Bergson and Leibniz, and on the individuation of consciousness, a puzzle of continuing interest to both phenomenologists and Deleuzians. By engaging with the philosophical issues in her novels and student diaries, this book rethinks Beauvoir’s focus on recognition in The Second Sex in terms of women’s struggle to individuate themselves despite sexist forms of representation. It shows how specific forms of women’s “lived experience” can be understood as the result of habits conforming to and resisting this sexist “sense.” Later feminists put forward important criticisms regarding Beauvoir’s claims not to be a philosopher, as well as the value of sexual difference and the supposedly Eurocentric universalism of her thought. Deleuzians, on the other hand, might well object to her ideas about recognition. This book attempts to address those criticisms, while challenging the historicist assumptions behind many efforts to establish Beauvoir’s significance as a philosopher and feminist thinker. As a result, readers can establish a productive relationship between Beauvoir’s “problems” and those of women around the world who read her work under very different circumstances.

scholarly journals Insulin’s Discovery: New Insights on Its Hundredth Birthday: From Insulin Action and Clearance to Sweet Networks

2021 ◽  
Vol 22 (3) ◽  
pp. 1030
Author(s):  
Melanie Leroux ◽  
Martial Boutchueng-Djidjou ◽  
Robert Faure
Keyword(s):  
Type 1 Diabetes ◽  
Cell Surface ◽  
20Th Century ◽  
Insulin Action ◽  
100Th Anniversary ◽  
The Body ◽  
Nobel Lecture ◽  
Surface Receptors ◽  
The Third

In 2021, the 100th anniversary of the isolation of insulin and the rescue of a child with type 1 diabetes from death will be marked. In this review, we highlight advances since the ingenious work of the four discoverers, Frederick Grant Banting, John James Rickard Macleod, James Bertram Collip and Charles Herbert Best. Macleoad closed his Nobel Lecture speech by raising the question of the mechanism of insulin action in the body. This challenge attracted many investigators, and the question remained unanswered until the third part of the 20th century. We summarize what has been learned, from the discovery of cell surface receptors, insulin action, and clearance, to network and precision medicine.

The Body in Theory

1998 ◽  
Vol 16 (4) ◽  
pp. 387-400 ◽  
Author(s):  
Felicity J Callard
Keyword(s):  
Queer Theory ◽  
20Th Century ◽  
The Body ◽  
The Other ◽  
Industrial Capitalism ◽  
Late 20Th Century ◽  
The Social ◽  
Theoretical Investigations ◽  
The One ◽  
Do So

Geographers are now taking the problematic of corporeality seriously. ‘The body’ is becoming a preoccupation in the geographical literature, and is a central figure around which to base political demands, social analyses, and theoretical investigations. In this paper I describe some of the trajectories through which the body has been installed in academia and claim that this installation has necessitated the uptake of certain theoretical legacies and the disavowal or forgetting of others. In particular, I trace two related developments. First, I point to the sometimes haphazard agglomeration of disparate theoretical interventions that lie under the name of postmodernism and observe how this has led to the foregrounding of bodily tropes of fragmentation, fluidity, and ‘the cyborg‘. Second, I examine the treatment of the body as a conduit which enables political agency to be thought of in terms of transgression and resistance. I stage my argument by looking at how on the one hand Marxist and on the other queer theory have commonly conceived of the body, and propose that the legacies of materialist modes of analysis have much to offer current work focusing on how bodies are shaped by their encapsulation within the sphere of the social. I conclude by examining the presentation of corporeality that appears in the first volume of Marx's Capital. I do so to suggest that geographers working on questions of subjectivity could profit from thinking further about the relation between so-called ‘new’ and ‘fluid’ configurations of bodies, technologies, and subjectivities in the late 20th-century world, and the corporeal configurations of industrial capitalism lying behind and before them.

scholarly journals A Ten-Year Review of Primary School Flexible Learning Environments: Interior Design and IEQ Performance

Buildings ◽  
2021 ◽  
Vol 11 (5) ◽  
pp. 183
Author(s):  
Diksha Vijapur ◽  
Christhina Candido ◽  
Özgür Göçer ◽  
Shirley Wyver
Keyword(s):  
Primary School ◽  
Learning Environments ◽  
Interior Design ◽  
High Energy ◽  
The Body ◽  
Learning Activities ◽  
Indoor Environmental Quality ◽  
Flexible Learning ◽  
Physical Infrastructure ◽  
And Performance

Flexible Learning Environments (FLEs) arose as enablers for implementation of student-centric pedagogical approaches. Interior design is the key to the success of FLEs, providing the physical infrastructure needed for students to engage on several learning activities, from individual to group work, which take place in a variety of zones ranging from low to high energy. Therefore, a harmonious synergy between the interior design and subsequent Indoor Environmental Quality (IEQ) performance of FLEs’ physical configuration and learning activities is needed. The objective of this paper is to systematically review (in accordance with the PRISMA method) existing literature related to FLEs within primary school settings, typically catering to children aged 5–12 years old, to understand the body of work investigating the design and performance of FLEs over the last decade (2010–2020). Key findings suggest that the proximity and acoustic and visual permeability of zones found in FLEs may give rise to inadequate IEQ conditions delivered to students. In addition, it could be inferred from the results of the literature review that interior design and IEQ have not been sufficiently investigated in an integrated manner.

Mobilization of the Planet from the Spirit of Self-Intensification

2006 ◽  
Vol 50 (4) ◽  
pp. 36-43 ◽  
Author(s):  
Peter Sloterdijk
Keyword(s):  
Critical Theory ◽  
Gilles Deleuze ◽  
Body Movement ◽  
The Body ◽  
Felix Guattari ◽  
Peter Sloterdijk ◽  
First Time ◽  
The Relationship

The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a critical theory of mobilization. An interview with choreographer Hooman Sharifi accompanies a meditation on his recent performance.

scholarly journals SUBJETIVAÇÕES RIZOMÁTICAS E A IDEIA DE CORPO SEM ÓRGÃOS EM A FÚRIA DO CORPO, DE JOÃO GILBERTO NOLL

2019 ◽  
Vol 21 (1) ◽  
pp. 261-275
Author(s):  
Francisca Gilmara da Silva Almiro ◽  
Roniê Rodrigues da Silva
Keyword(s):  
Identity Construction ◽  
Gilles Deleuze ◽  
The Body ◽  
Felix Guattari ◽  
Critical Reading ◽  
Deleuze And Guattari ◽  
Brazilian Literature ◽  
Body Without Organs ◽  
The Way

O trabalho apresenta uma leitura da obra A Fúria do corpo, de João Gilberto Noll, a partir dos conceitos de Corpo sem Órgãos e Rizoma propostos pelos filósofos franceses Gilles Deleuze e Félix Guattari. Nesse sentido, objetiva estudar a construção identitária das personagens da referida narrativa, estabelecendo uma associação com essas noções filosóficas, problematizando, sobretudo, a errância das personagens e a linguagem utilizada para a composição da obra. Ao longo da leitura crítica, destacaremos como o texto de Noll nos desafia à construção de sentidos através de uma subjetividade constituída a partir de linhas de fuga, ideia discutida pelos filósofos supracitados. Ao adentrarmos no texto ficcional pelo viés de tais linhas, é possível entender como as personagens percebem e vivem suas experimentações rizomáticas. Desse modo, não se pretende aqui atribuir sentidos fechados à narrativa, mas sugerir que o Corpo sem Órgãos e o Rizoma são características que representam as experiências errantes das personagens encontradas na escrita de Noll. Palavras-chave: Literatura Brasileira Contemporânea. João Gilberto Noll. Identidade. Corpo sem Órgãos. Rizoma. THE RHIZOME AND THE IDEA OF BODY WITHOUT ORGANS IN THE FURY OF THE BODY, BY JOÃO GILBERTO NOLL Abstract: This paper presents a reading of The Fury of the Body, by João Gilberto Noll, based on the concepts of Body without Organs and Rhizome proposed by French philosophers Gilles Deleuze and Félix Guattari. It aims to study the characters’ identity construction, establishing an association with these philosophical notions, exploring, especially, the characters’ wandering nature and the language used in the composition of the work. Throughout this critical reading, emphasis will be given on the way Noll’s text challenge us to construct directions through a subjectivity built from escape lines, a concept defined by Deleuze and Guattari. By reading the narrative through these lenses, it is possible to understand how the characters perceive and live their rhizomatic trials. Thus, the intention here is not to attribute closed meanings to the narrative, but to suggest that the Body without Organs and the Rhizome are features that represent the characters’ wandering experiences in The Fury of the Body. Keywords: Contemporary Brazilian Literature. João Gilberto Noll. Identity. Body without Organs. Rhizome.

The Bacterial Clients of Modern Architecture

2020 ◽  
pp. 6-17
Author(s):  
Beatriz Colomina ◽  
Mark Wigley
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Modern Architecture ◽  
The Body ◽  
Human Organism ◽  
Contemporary Research

The human is an unstable idea; simultaneously an all-powerful creature – capable of transforming the whole ecology of the planet – yet extremely fragile, a murky ghost. Contemporary research into our microbiome portrays the human itself as a mobile ecology constructed by the endless flux of interactions between thousands of different species of bacteria – some of which are millions of years old and others joined us just a few months ago. This challenges conventional understandings of architecture. What does it mean to house the human when we no longer think that the human organism is securely contained within its skin? What is the role of architecture when the humans occupying it are understood to be suspended in clouds of bacteria shared, generated and mobilized by other macro-organisms (pets, plants, insects…) and the building itself; when the human is not a clearly defined organism or in any sense independent; when the architectural client is a massive set of ever-changing trans-species alliances that make the apparent complexity of even the largest of cities seem quaintly uncomplicated. What kind of care do architects offer if we think of ourselves as alliances between bacteria within the apparent limits of the body and throughout the spaces we occupy? What faces 21st century architects in comparison to 20th century architects?

Suspiria

2015 ◽  
Author(s):  
Alexandra Heller-Nicholas
Keyword(s):  
20Th Century ◽  
The Body ◽  
Horror Films ◽  
American Museum ◽  
Moving Image ◽  
International Reputation ◽  
The Impact ◽  
To Receive

As one of the most globally recognisable instances of 20th-century Eurohorror, Dario Argento's Suspiria (1976) is poetic, chaotic, and intriguing. The cult reputation of Argento's baroque nightmare is reflected in the critical praise it continues to receive almost 40 years after its original release, and it appears regularly on lists of the greatest horror films ever. For fans and critics alike, Suspiria is as mesmerising as it is impenetrable: the impact of Argento's notorious disinterest in matters of plot and characterisation combines with Suspiria's aggressive stylistic hyperactivity to render it a movie that needs to be experienced through the body as much as through emotion or the intellect. For its many fans, Suspiria is synonymous with European horror more broadly, and Argento himself is by far the most famous of all the Italian horror directors. If there was any doubt of his status as one of the great horror auteurs, Argento's international reputation was solidified well beyond the realms of cult fandom in the 1990s with retrospectives at both the American Museum of the Moving Image and the British Film Institute. This book considers the complex ways that Argento weaves together light, sound and cinema history to construct one of the most breathtaking horror movies of all time, a film as fascinating as it is ultimately unfathomable.

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