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    Chaos, Territory, Art: Deleuze and the Framing of the Earth
    Unavailable
    Chaos, Territory, Art: Deleuze and the Framing of the Earth
    Unavailable
    Chaos, Territory, Art: Deleuze and the Framing of the Earth
    Ebook169 pages2 hours

    Chaos, Territory, Art: Deleuze and the Framing of the Earth

    By Elizabeth Grosz

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    Currently unavailable

    About this ebook

    Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic.

    By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, Félix Guattari, and Jakob von Uexküll, we are able to grasp art's deep animal lineage.

    Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.

    LanguageEnglish
    PublisherColumbia University Press
    Release dateMar 30, 2012
    ISBN9780231517874
    Unavailable
    Chaos, Territory, Art: Deleuze and the Framing of the Earth

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    Reviews for Chaos, Territory, Art

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    • 2/5
      Impressions follow:

      Pretty thin stuff after reading in object-oriented philosophy over the last few days. Via Deleuze, Grosz thinks in binaries: inside/outside, alive/notalive, 'primary forces' and the 'primitive' (which, in a typically psychoanalytic manner, are more revelatory, because earlier), and art as framing 'chaos' (which is out there) (and where neither 'framing' nor 'life' have any of the ethical force that they do in Butler's Frames of War); discussions of music as rhythmic and ordered work only so long as she doesn't discuss any particular music and just brackets off various postmodern, postrhythmic, and postmelodic soundmaking (indeed it's the automatic pop music so disdained by Deleuze that is most rhythmic and refrain-y) (and if she wants to discuss primitive and bodily aesthetics of sensation, EATING would have been a better site for investigation than music); her references to science use Darwin in the same way one might use a philosopher, as a site for thinking, when she might have done better, both in her references to birds and in her many vague references to 'the world', 'the universe', and even the 'vibrations' of sub-atomic particles, to engage with contemporary science. Certainly once we get "down" (if we want to think in these spatial metaphors) to sub-atomic particles, it's no longer suitable to distinguish between life and nonlife.

      Useful for a good discussion of Von Uexküll and for the inevitable excess and 'mal-adaption' of sexual attraction, whether in birds, fish, or humans.