By Brian Massumi
A surprise to idea brings jointly essays that discover Deleuze and Guattari's philosophy of expression in a few modern contexts. will probably be of curiosity to all these in philosophy, cultural reviews and artwork conception. the quantity additionally includes an interview with Guattari which truly restates the 'aesthetic paradigm' that organizes either his and Deleuze's paintings.
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Submit yr word: First released in 2013
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Additional resources for A Shock to Thought: Expression after Deleuze and Guattari
But the appearance of Reason is a restoration of order and of closure. 5 But is it really possible to separate out the parts of the Kantian movement like this? Neil Hertz suggests that even the first moment of the sublime, the imagination’s distress, seems ‘slightly factitious, staged precisely in order to require the somewhat melodramatic arrival of Ethics’. Hertz has an important point here, though it is unfortunate that he chooses to denigrate melodrama. 9 S T E V E N S H AV I RO 6 Lyotard, unlike many recent commentators, respects both moments in the unfolding of the sublime.
It is an opening. But the appearance of Reason is a restoration of order and of closure. 5 But is it really possible to separate out the parts of the Kantian movement like this? Neil Hertz suggests that even the first moment of the sublime, the imagination’s distress, seems ‘slightly factitious, staged precisely in order to require the somewhat melodramatic arrival of Ethics’. Hertz has an important point here, though it is unfortunate that he chooses to denigrate melodrama. 9 S T E V E N S H AV I RO 6 Lyotard, unlike many recent commentators, respects both moments in the unfolding of the sublime.
Benjamin is not ignorant of these forms, but because he makes economic and technological changes (the rise of Capital) the agent of modernity, he is incapable of seeing these as posing a properly artistic problem, except that of its own death or compromise. The emergence of the modern ‘individual’ is contemporaneous with the emergence of mechanistic paradigms: nowhere is this more apparent than in modernist art. We have learnt well that to negate something (history, society, modernity itself) is just another way of affirming it, a childish ‘denial’.