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L'image-mouvement) (1983) is the first of two books on cinema by the philosopher Gilles Deleuze, the second being Cinema 2: The Time Image (French: Cinéma 2. L'image-temps ) (1985). Together Cinema 1 and Cinema 2 have become known as the Cinema books, the two volumes both complementary and interdependent. [ 1 ]
The body without organs (or BwO; French: corps sans organes or CsO) [1] is a fuzzy concept used in the work of French philosophers Gilles Deleuze and Félix Guattari. The concept describes the unregulated potential of a body— not necessarily human [ 2 ] — without organizational structures imposed on its constituent parts, operating freely.
Gilles Deleuze was born into a middle-class family in Paris and lived there for most of his life. His mother was Odette Camaüer and his father, Louis, was an engineer. [7] His initial schooling was undertaken during World War II, during which time he attended the Lycée Carnot. He also spent a year in khâgne at the Lycée Henri IV.
Plane of immanence (French: plan d'immanence) is a founding concept in the metaphysics or ontology of French philosopher Gilles Deleuze. Immanence, meaning residing or becoming within, generally offers a relative opposition to transcendence, that which extends beyond or outside. Deleuze "refuses to see deviations, redundancies, destructions ...
A line of flight or a line of escape (French: ligne de fuite) is a concept developed by Gilles Deleuze and Félix Guattari in their work Capitalism and Schizophrenia.It describes one out of three lines forming what Deleuze and Guattari call assemblages, and serves as a factor in an assemblage that ultimately allows it to change and adapt to said changes, which can be associated with new ...
However, in 2011 David Deamer published an essay titled 'A Deleuzian Cineosis: Cinematic Semiosis and Syntheses of Time' in what was then called Deleuze Studies, which returned to Rodowick's brief comment and explored the claim in depth, writing 'the impetus for the taxonomy of the time-image lies in the account given of the three passive ...
Deleuze's concept of art goes beyond the representation of an image. According to Ronald Bogue in "Gilles Deleuze: The Aesthetics of Force", Deleuze emphasizes a common problem across various art forms. He focuses not on reproducing or inventing different forms of representation in art, but on "harnessing forces." [5]
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