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The Fold started to influence architectural design and theory shortly after it was published in 1988. [2] Greg Lynn's guest-edited 1993 March-April issue of Architectural Design, which is titled Folding in Architecture, was one of the first publications that associated Deleuze's writing on the Baroque with contemporary architecture.
Gilles Louis René Deleuze (/ d ə ˈ l uː z / də-LOOZ; French: [ʒil dəløz]; 18 January 1925 – 4 November 1995) was a French philosopher who, from the early 1950s until his death in 1995, wrote on philosophy, literature, film, and fine art.
This is a post-structuralist theory inspired in part by the ideas of the physicist-philosopher Niels Bohr, [13] [14] [15] and thinkers such as Michel Foucault, Gilles Deleuze, Félix Guattari, Bruno Latour, Michel Serres and Karen Barad, and by phenomenonologists such as Martin Heidegger and Maurice Merleau-Ponty. [16]
Martin Heidegger (/ ˈ h aɪ d ɛ ɡ ər, ˈ h aɪ d ɪ ɡ ər /; [3] German: [ˈmaʁtiːn ˈhaɪdɛɡɐ]; [3] 26 September 1889 – 26 May 1976) was a German philosopher best known for contributions to phenomenology, hermeneutics, and existentialism.
Like the first volume of Deleuze and Guattari's Capitalism and Schizophrenia, Anti-Oedipus (1972), A Thousand Plateaus is politically and terminologically provocative and is intended as a work of schizoanalysis, [2] but focuses more on what could be considered systematic, environmental and spatial philosophy, often dealing with the natural world, popular culture, measurements and mathematics.
Schizoanalysis (or ecosophy, pragmatics, micropolitics, rhizomatics, or nomadology) (French: schizoanalyse; schizo-from Greek σχίζειν skhizein, meaning "to split") is a set of theories and techniques developed by philosopher Gilles Deleuze and psychoanalyst Félix Guattari, first expounded in their book Anti-Oedipus (1972) and continued in their follow-up work, A Thousand Plateaus (1980).
In the first chapter of Cinema 2, Deleuze picks up where he left off in Cinema 1 to discuss how the time-image is born from a crisis of the movement-image. Thus, instead of what Deleuze had described as perception-images, affection-images, action-images, and mental images (all types of movement-image), there are now "opsigns" and "sondsigns ...
Deleuze suggests that, unlike Hegel, he creates concepts out of a joyful and creative logic that resists the dualism of dialectic: "I make, remake and unmake my concepts along a moving horizon, from an always decentered centre, from an always displaced periphery which repeats and differentiates them" (xxi).