1Paradigms

in Architecture-3rd week Reading-Review Edmond Manahasa 502112015 Nomad Philosophy of Art, Deleuze and his Readings on Others
Deleuze talks about two ways of transcending the figuration: 1. Toward Abstract Form 2. Toward Figure Cezanne used the figure way by sensation, by giving to it an unprecedented status on painting especially through color. He will treat even the portraits as landscapes. From the other side Bacon gives up likes to the landscapes. He says form as it relates to sensation (figure) is the application of form as it relates to an object that the form is supposed to represent (figuration) Bacon goes further on defining sensation that passes from one order to another, from one level to another and from one domain to another. He will illustrate this in his paintings through series: They can be (the series) can be one in simultaneity like triptychs (serial parts of the same picture). The series can be closed when the composition is contrasting, but can be opened when it is continued beyond the three. Bacon wants to eliminate the sensation by saying: I wanted to paint the scream more than the horror. In this way the horror is evident and existent is everywhere and in this way it is multiplied. A second definition of sensation is valences of sensations, with ambivalences of feeling. Sylvester argues: you may be expressing at one and the same time love and hostility toward them both caress and assault. Bacon goes deeper: How do I feel I can make this image more immediately real to myself? The third interpretation is the so called Motor Hypothesis where levels of sensation acts like arrest or snapshots of motion synthetically recomposing the movement in its continuity, speed and violence. Bacon defines the act of painting through the diagram. For example we lengthen mouth we make to go from one side to the other we clean part of the head to the other. Diagram is understood as a figurative data on the composition and also as operative set of brushstrokes of colors. Abstraction as the second way of transcendalism but it is a path that reduces abbys or chaos. Abstract optical space, develops a symbolical code rather than a diagram. A second path which often has been called abstract expressionism is an entirely different response in antipodes.

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in Architecture-3rd week Reading-Review Edmond Manahasa 502112015

Deleuze reads Bergson as the greatest theorist who focus on theory of difference, whose instance in his theory brought difference into philosophy. Bergson says that philosophy brings into the daylight that which science must necessarily live out, those that it cannot focus on closed systems and defined terms. The difference of Bergson is expressed in four keywords: - Difference - Duration - Intuition - Becoming Duration brings difference from the inevitable force of differentiation and elaboration and that is another becoming. Duration which undoes bring unbecoming as a result of alternation. Intuition is the precise method of discernment available to philosophy in expression of durational becoming. There are three texts of Deleuze on Bergson and again Deleuzian difference is also Bergsonian: 1. Difference of being woman through sexual difference 2. Deleuze project is different it is not a concept characterizes fields and indeed reality itself. 3. Difference is an ontological rather logical From the other side Bergson defines difference having four facets: Facet1. Difference as difference in nature, natural articulations of the real Facet 2. Difference functions through forces of internal difference such in it the internal dynamic of open endedness. Facet 3. Operates through degrees of difference Facet 4. Movement also is to be understood as a process of differentiation. Bergson intuition is different with the common understanding. It is a method by which unique and original concepts are created and developed for objects, qualities and durations that are themselves unique and specific. Bergson also defines it as a relatively rare but everproductive force in the history of philosophy. Intuition has two tendencies that blur into each other. The first is tendency downward inside a depth into a depth beyond practical utility available to us in those moments of related to units entities or terms it

3Paradigms

in Architecture-3rd week Reading-Review Edmond Manahasa 502112015

reflection. The second is a reverse movement in which this downward tendency sees in itself the durational flow that also characterizes the surface of objects in their real relations with each other. Intuition is not simply the discernment of natural differences, qualitative differences or differences in kind; it is the inner orientation to tendency, to the differences between tendencies. It is the capacity to understand natural differences beyond a monistic or dualistic model, not as a relation of two terms, but as the convergence of two tendencies or dispositions, not marked by negation but brought together through contraction/dilation. Deleuze, following Bergson, proliferates dualisms, not because the world or the real is readily divisible into doubled pairs but because each of these pairs mind and matter, space and duration, differences in nature and differences of degree, intelligence and intuition, man and woman and so on. For Bergson, life overcomes itself through the activities it performs on objects and itself: it becomes something other than its past while retaining a certain continuity with it. Its becomings are contingent only on its capacity to link with, to utilize, and transform, that is, to unbecome, the apparent inertia of material objects and to give to these objects new virtualities and potentials. It needs to unbecome, to undo its actuality as fixed givennness in order for its virtualities to be capable of a new or different elaboration. Deleuze and Guattari affirm that this is a co-evolution, not simply in the Darwinian sense of mutual or symbiotic development of species that share the same or related environments, but in the sense of a symbiosis between the living and the non-living.