Abstract
| Language | English |
|---|---|
| Title of host publication | Aberrant Nuptials. Deleuze and Artistic Research 2 |
| Publisher | Leuven University Press |
| Chapter | 18 |
| Publication status | Accepted/In press - 10 May 2019 |
| Event | 2nd International Conference on Deleuze and Artistic Research: Aberrant Nuptials - Orpheus Institute, Ghent, Belgium Duration: 20 Nov 2017 → 22 Nov 2017 Conference number: 2 https://www.fabula.org/actualites/dare-2017-aberrant-nuptials2nd-international-conference-on-deleuze-and-artistic-research_76948.php (Link to Conference Details) |
Conference
| Conference | 2nd International Conference on Deleuze and Artistic Research |
|---|---|
| Abbreviated title | DARE 2018 |
| Country | Belgium |
| City | Ghent |
| Period | 20/11/17 → 22/11/17 |
| Other | The philosophy of Gilles Deleuze and its resonating discourses have become increasingly relevant to the field of Artistic Research, and Deleuze is now a key reference for many artist-researchers engaging with knowledge across artistic, academic and non-academic fields of practice. DARE 2015: The Dark Precursor was the first conference attempting to trace the encounter between artistic research and Deleuze’s world. The Second International Conference on Deleuze and Artistic Research, DARE 2017: Aberrant Nuptials, continues that mapping, readdressing the question ‘How can communication occur between heterogeneous systems?’ through the associated concepts of ‘aberrant nuptials’ and ‘zone of indeterminacy’. |
| Internet address |
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Mining the Aesthetico-Conceptual : Deleuze, Derrida and Artistic Research. / Roberts, Spencer.
Aberrant Nuptials. Deleuze and Artistic Research 2. Leuven University Press, 2019.Research output: Chapter in Book/Report/Conference proceeding › Chapter
TY - CHAP
T1 - Mining the Aesthetico-Conceptual
T2 - Deleuze, Derrida and Artistic Research
AU - Roberts, Spencer
PY - 2019/5/10
Y1 - 2019/5/10
N2 - 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.
AB - 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.
M3 - Chapter
BT - Aberrant Nuptials. Deleuze and Artistic Research 2
PB - Leuven University Press
ER -