Mining the Aesthetico-Conceptual: Deleuze, Derrida and Artistic Research

Description

Despite their many political and philosophical allegiances, Deleuze and Derrida might - in accordance with Deleuze and Parnet’s dictum – be best described as the opposite of a couple. Whilst their mutual hostility towards conceptual stasis, overly linear approaches to temporality and excessively centred notions of subjectivity targeted a number of common philosophical opponents, this apparent unity of purpose arose out of some seemingly incommensurable tensions: Deleuze’s mode of ontological enquiry squared poorly with Derrida’s rejection of metaphysics; Deleuze’s positive engagement with the sciences, and his prioritisation of material-sensation sat awkwardly with Derrida’s more pervasively textual and somewhat idealist orientation; and Deleuze’s development of an impersonal concept of Husserlian expression served to check Derrida’s rather more stringent and single minded rejection of phenomenological presentism.It is important to remember, however, that like Derrida, Deleuze was predominately a writer – albeit a writer with an at once affective, performative and corporeal agenda. Indeed, when taken at face value, it would seem to have been Derrida who more directly explored the graphic potentialities of experimental writing. Deleuze’s emphasis upon performativity, emergence, and onto-genetic construction nevertheless serves to extend and supplement the Derridean account of textuality by exposing its neglect of the process of writing. In so doing it foregrounds the potential for Deleuzo-Derridean philosophy to instantiate a genuinely aesthetico-conceptual image of thought.

Period	21 Nov 2017
Held at	2nd International Conference on Deleuze and Artistic Research
Event type	Conference
Conference number	2
Location	Ghent, Belgium
Degree of Recognition	International