‘My whole structure of perception is in the process of exploding’ – Deleuze and Guattari and the Sublime1

Sublime Art ◽  
2017 ◽  
pp. 109-163
Author(s):  
Stephen Zepke
Keyword(s):  
Aesthetic Experience ◽  
Deleuze And Guattari ◽  
The Sublime ◽  
The Difference

Deleuze’s reading of the sublime reveals both his closeness and distance from his colleague Lyotard. Both thinkers ground their ontology of sensation on the difference between the faculties of the supersensible and the sensible found in the sublime, both seek to reverse the domination of cognitive thought over aesthetic experience in the name of a sublime ‘intellectual-feeling’, and both privilege modernist art as a mechanism by which we can experience this. Lyotard, however, as we have seen, increasingly saw the sublime in terms of the fundamental dualism irrevocably separating the supersensible from its sensible event, and its‘negative presentation’ in aesthetic experience. While negative presentation also plays a part in Deleuze’s account, this significantly differs from both Kant’s and Lyotard’s versions. In fact, in Anti-Oedipus Deleuze and Guattari criticise precisely this aspect of Lyotard’s Discours, Figure, and subsequently this difference will only become stronger.

‘Contempt for the world’ – Kant’s Aesthetics and the Sublime1

Sublime Art ◽  
2017 ◽  
pp. 14-47
Author(s):  
Stephen Zepke
Keyword(s):  
Aesthetic Experience ◽  
Human Experience ◽  
Deleuze And Guattari ◽  
The Sublime ◽  
The World

A book on sublime art must begin with Kant’s theory of the sublime. First, because it is the focus of our central authors (Lyotard, Deleuze and Guattari, Rancière and Derrida), whether they affirm, deny or deconstruct it. Second, because Kant’s description of ‘aesthetic’ experience is foundational for ‘aesthetics’as a philosophical discipline and has been central to the theorisation of art from Romanticism until today. Third, because of the not always simple pleasure of exploring Kant’s amazing system. And finally, fourth, because the sublime provides irresistible drama as it emerges in all its monstrous ambiguity, the paradoxical– but no less necessary–Collapse and fulfilment of Kant’s system in an experience of the supersensible rising from the ashes of human experience.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

scholarly journals APIE (FILOSOFIJOS) PRIGIMTĮ

Problemos ◽  
2009 ◽  
Vol 75 ◽  
pp. 8-33
Author(s):  
Skirmantas Jankauskas
Keyword(s):  
Human Activity ◽  
Aesthetic Experience ◽  
Greek Philosophy ◽  
Poetic Discourse ◽  
The Will ◽  
Way Of Thinking ◽  
The Difference ◽  
Theoretical Thinking

Straipsnyje aptariama graikiškojo filosofavimo genezė, t. y. nagrinėjamos pirmojo filosofijos teiginio susiklostymo prielaidos ir tų prielaidų numanoma teiginio prasmė. Filosofijos istorijoje nusistovėjusios pirmųjų filosofų teiginių interpretacijos kilmė siejama su Aristotelio filosofija. Teigiama, kad Aristotelis graikiškąjį filosofavimą jau visiškai įkurdina rašte. Iš rašto pozicijų Aristotelis žvelgia ir į pirmųjų filosofų ištaras, todėl suvokia jas vien kaip rašto (teorinio mąstymo) elementus. Straipsnyje daroma prielaida, kad filosofavimas prasidėjo ne kaip raštas, o kaip su žmogaus veikla susijęs tradicinis kalbėjimas. Filosofavimo kaip konstruktyvios kalbėjimo atmainos specifiką lėmė antikoje susiklosčiusi refleksijos situacija, kuri siejama su septynių išminčių imperatyvu ‘Pažink save!’ Parodoma, kad šis imperatyvas steigia skirtį tarp logo ir kosmo, kurią antikos išminčius išgyvena kaip sinkretinio gyvenimo vidujybės netektį. Straipsnio autorius interpretuoja filosofavimą kaip kalbėjimą ir veikimą, kuriais antikos išminčius siekia susigrąžinti ikirefleksinę būseną. Teigiama, kad sinkretinių mąstymo įgūdžių nepraradęs antikos išminčius savąjį filosofavimą linkęs aiškinti kaip pritapimo prie kosmo būdą. Kadangi refleksija įkurdina žmogų teorinio mąstymo erdvėje, tai pritapimo prie kosmo veiksmas tegalimas mąstymo plotmėje, todėl filosofavimą steigianti skirtis tarp logo ir kosmo besiplėtojančiame filosofavime nuaidi skirtimis kosme. Tačiau pirmieji išminčiai dar tikisi pilnatviško pritapimo prie kosmo ir tokio pritapimo regimybę jie dar pelno kosmo kaip grožio išgyvenimu, kurį Platonas ir Aristotelis sieja su nuostaba. Pirmoji kanonizuotoji filosofijos ištara interpretuojama kaip estetinį pritapimą prie kosmo referuojantis poetinis bylojimas.Pagrindiniai žodžiai: raštas, priežastis, refleksija, kosmas, pritapimas, archė, grožis, tiesa, būtis.On the Nature (of Philosophy)Skirmantas Jankauskas   SummaryThe paper deals with the genesis of Greek philosophy. The circumstances of the appearance of the first utterance in Greek philosophy and their impact upon its meaning are revealed. The traditional interpretation of the first utterances in the early Greek philosophy is attributed to Aristotle. The latter is said to have transferred Greek philosophizing totally into writing and subsequently to treat the first utterances as elements of writing. In the article, the suggestion is put forward that philosophizing did not begin as a writing but rather as a talking activity immersed in human activity in general. The specificity of philosophizing as constructive talking is related to the situation of reflection, caused by the imperative of the Seven Sages, namely by the imperative ‘Know thyself!”. It is shown here that the imperative introduces the difference between logos and cosmos, which is experienced by a Greek Sage as a loss of sincretic life. Philosophizing is then introduced as an activity of talking, provoked by the will to reestablish the original sincretic state. The author argues that because of syncretist skills, this activity is treated by early Greek philosophers as a way of partaking in cosmos. As reflection conveys a philosopher into the realm of theoretical thinking, partaking in cosmos is possible only as a way of thinking. Consequently, the difference between logos and cosmos in philosophizing resolves itself in the differences of cosmos. Nevertheless, the first philosophers still retained some hope for complete partaking in cosmos, and they gained the illusion of such a partaking by aesthetic experience of cosmos, which was attributed by Plato and Aristotle to wondering. Consequently, the first utterance of Greek philosophy is interpreted in this article as a kind of poetic discourse that refers to the activity of aesthetic partaking in cosmos.Keywords: writing, reason, reflection, cosmos, partaking, arche, the beautiful, truth, being.

Is A New Life Possible? Deleuze and the Lines

2013 ◽  
Vol 7 (1) ◽  
pp. 106-152 ◽  
Author(s):  
Luis de Miranda
Keyword(s):  
Break Line ◽  
Deleuze And Guattari ◽  
Molecular Line ◽  
Crack Line ◽  
Or Groups ◽  
The Difference ◽  
Singular Individual ◽  
Line Crack

In his dialogues with Claire Parnet, Deleuze asserts that: ‘Whether we are individuals or groups, we are made of lines’ ( Deleuze and Parnet 2007 : 124). In A Thousand Plateaus (with Guattari), Deleuze calls these kinds of ‘lifelines’ or ‘lines of flesh’: break line (or segmental line, or molar line), crack line (or molecular line) and rupture line (also called line of flight) ( Deleuze and Guattari 2004a : 22). We will explain the difference between these three lines and how they are related to the ‘soul’. We will also explain how a singular individual or group can arise from the play of the lines. Eventually, we will introduce the concept of ‘Creal’ to develop the Deleuzian figure of the ‘Anomal’, the so(u)rcerer.

scholarly journals Nature versus art as elicitors of the sublime: A virtual reality study

PLoS ONE ◽  
2021 ◽  
Vol 16 (3) ◽  
pp. e0233628
Author(s):  
Alice Chirico ◽  
Robert R. Clewis ◽  
David B. Yaden ◽  
Andrea Gaggioli
Keyword(s):  
Virtual Reality ◽  
Aesthetic Experience ◽  
Emotional Responses ◽  
Subjective Response ◽  
Philosophical Discourse ◽  
Sense Of Presence ◽  
The Sublime ◽  
Before And After

The sublime–the mixed aesthetic experience of uplift and elevation in response to a powerful or vast object that otherwise is experienced as menacing–has nurtured philosophical discourse for centuries. One of the major philosophical issues concerns whether the sublime is best thought of as a subjective response or as a stimulus. Recently, psychology has conceived of the sublime as an emotion, often referred to as awe, arising from natural or artistic stimuli that are great, rare, and/or vast. However, it has not yet been empirically demonstrated whether two major elicitors of the sublime–nature and art–differ in inducing this state. In order to experimentally compare nature and art, we exposed 50 participants to sublimity-inducing content in two different formats (nature-based and art-based) using 360° videos. We compared Vincent Van Gogh’s The Starry Night with a photorealistic version of the actual place depicted in the painting, Saint-Rémy-de-Provence. We measured participants’ emotional responses before and after each exposure, as well as the sense of presence. The nature-based format induced higher intensity emotional responses than the art-based format. This study compares different sublime stimuli (nature vs. art) for eliciting the sublime.

scholarly journals Imagining and improvising with theory and practice : a narrative inquiry with first grade students during reading workshop

2015 ◽  
Author(s):  
◽  
Shonna R. Crawford
Keyword(s):  
Early Childhood ◽  
Narrative Inquiry ◽  
Aesthetic Experience ◽  
First Grade ◽  
Theory And Practice ◽  
Deleuze And Guattari ◽  
Reading Workshop ◽  
Poststructural Theory ◽  
Early Childhood Literacy ◽  
Literacy Research

This paper illuminates the possibilities of thinking with poststructural theory when storying an emerging process of engaging in research with young children. The purpose of this paper is to describe processes, tensions, and imaginings while infusing poststructural theories into conversations with data (Deleuze and Guattari, 1987; Lenz Taguchi, 2010; Olsson, 2009). Currently much of early childhood literacy research (Park, 2011; Scull, Nolan and Raban, 2013; Vera, 2011) reports outcome-based findings and implications. While this research is informative, the emphasis is often on children as subjects and/or products/performances resulting from the research. In our narrative inquiry, we (first grade students, teacher, myself) worked together to explore ways students participated in a narrative inquiry about reading during reading workshop. While researching we experienced the ebb and flow-shifts and changes, tensions and challenges, joys and imaginings--of what it meant to participate in research. Thinking rhizomatically with our stories illuminated ways these shifts were initiated by lines of flight-- departures from the norm (Deleuze and Guattari, 1987; Kuby, 2013; Leander and Rowe, 2006). Lines of flight created new trajectories for our research including new ways of participating as we worked toward non-hierarchical relationships with young students. The improvisational nature of participation prompted an imaginative storying of our research through a jazz metaphor. This metaphor revealed relational improvisation with people and with materials as productive for students, teacher, and researcher as we produced our research. Ultimately our research invites practitioners and researchers to embrace teaching as an art, and learning as aesthetic experience.

scholarly journals La experiencia estética y los estratos de la obra de arte. La estética como la esencia del arte

2014 ◽  
pp. 265
Author(s):  
Pau Pedragosa
Keyword(s):  
Lived Experience ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
The Difference ◽  
Siglo Xix ◽  
The Aesthetic ◽  
Xix Century ◽  
Siglo Xx

El contenido de este artículo consiste en mostrar que la experiencia estética es la esencia de la experiencia de la obra de arte. Argumentaré en contra de la concepción del arte de Arthur C. Danto según la cual el arte moderno ya no requiere de la experiencia estética y este hecho determina el fin del arte. La experiencia estética permitiría dar cuenta del arte desde el Renacimiento hasta el siglo XIX pero el arte moderno del siglo XX solo puede ser explicado conceptualmente y, por tanto, la filosofía del arte es necesaria para explicitar ese contenido.Para defender el estatuto estético de la obra de arte mostraré que la experiencia estética se identifica con la experiencia fenomenológica. Esto quiere decir que la experiencia estética nos hace concientes de la diferencia entre el contenido de la obra (lo que aparece ) y el medio de la experiencia sensible en el que este contenido se da (el aparecer). El “aparecer” y “lo que aparece” se corresponden en la experiencia estética con los dos polos de la relación intencional y constituyen los dos estratos fundamentales de la obra de arte. A través de la aproximación fenomenológica intentaré mostrar que la obra de arte no excluye el contenido conceptual, pero este contenido ha de estar necesariamente incorporado. No es la filosofía la que tiene que comprender este contenido sino exclusivamente la experiencia estética.The subject of this paper is to claim that the aesthetic experience is the essence of the experience of the work of art. I argue against the view hold by Arthur C. Danto, according to which modern art does not require the aesthetic experience any more and that this fact means the end of art. The aesthetic experience allows explaining only the art made be-tween the Renaissance and the XIX century. The modern work of art of the XX century can only be explained conceptually and therefore a philosophy of art is required to make that content explicit and clear.To defend the aesthetic status of the work of art I will show that the aesthetic experience identifies itself with the phenomenological ex-perience. This means that the aesthetic experience makes us aware of the difference between the content of the work (what appears) and the sensible lived experience in which this content appears (the appearance). The “appearance” and “what appears” are the two poles of Intentionality and the two fundamental layers of the work of art. Through the phenomenological approach I will make clear that the work of art does not exclude the conceptual content at all. This content has to be necessarily embodied. It is not philosophy that has to disclose this con-tent but the aesthetic experience alone.

Appropriating Ovid’s Tyrannical Raptures in Macbeth

2019 ◽  
pp. 163-181
Author(s):  
John D. Staines
Keyword(s):  
The Body ◽  
Deleuze And Guattari ◽  
Titus Andronicus ◽  
Human Culture ◽  
The Sublime ◽  
The Uncanny ◽  
Human Understanding

In contrast to Titus Andronicus, Macbeth adapts few Ovidian sources; nonetheless, the play reveals how completely the mature Shakespeare appropriates Ovid’s poetics, especially the element of raptus, seizing and being seized. Macbeth himself is the body rapt, and raped, as he experiences the sublime terror of being swept up and violated by forces at the edge of human understanding. The tyrant is both the rapist and the raped, seized by passions he cannot, or will not, control, tortured in “restless ecstasy” that drives him to greater violations. Using the rhizome and assemblage of Deleuze and Guattari, and the hauntology of Derrida, this chapter sees Shakespeare, Ovid, and human culture as fragmentary records of violent appropriations and traumatized ghosts haunting past, present, and future. The uncanny, spectral experiences Maurizio Calbi finds in postmodern Shakespearean adaptations are thus intensifications of experiences Shakespeare found in Ovid and made central to his art.

Sublime Art

2017 ◽  
Author(s):  
Stephen Zepke
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Art History ◽  
Deleuze And Guattari ◽  
Philosophical Discourse ◽  
The Sublime ◽  
Aesthetic Politics ◽  
The Future ◽  
Post War ◽  
War Art

The book analyses recent philosophical discussions of Kant’s theory of the sublime, and the artistic examples these give or provoke, in order to construct a diagram of sublime contemporary art. This diagram will have the immediate aim of producing a new genealogy of post-war art that avoids the modern/postmodern rupture, in favour of a sublime art that can utilise both traditional and new media and has the production of the future as its political goal. The book will draw on both philosophical discourse and art history and theory in making its argument. The introduction will give an account of the historical emergence of the sublime, concentrating on Kant. The following five chapters will each discuss a contemporary philosopher’s reading of Kant’s sublime (Lyotard, Derrida, Deleuze and Guattari, Rancière, Jameson), and also consider their artistic examples. From this will be drawn a diagram of sublime art that incorporates the most useful aspects of each thinker, and also outlines a new genealogy of post-war art. The sixth chapter will then use this diagram, and its artistic genealogy, to offer a theory of contemporary artistic practices as an aesthetic politics (ie., a biopolitics) that overcomes the current (postmodern) impasse between art and life. The conclusion will project this new diagram into the future.

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