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The Philosophical Machine: Vertov, Deleuze and Guattari on the Interchanging Movement from Art to Philosophy

The Philosophical Machine: Vertov, Deleuze and Guattari on the Interchanging Movement from Art to Philosophy

Susana Viegas, “The Philosophical Machine: Vertov, Deleuze and Guattari on the Interchanging Movement from Art to Philosophy,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2375–92, https://doi.org/10.17990/RPF/2019_75_4_2375.

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  • The Philosophical Machine: Vertov, Deleuze and Guattari on the Interchanging Movement from Art to Philosophy

    Type Journal Article
    Author Susana Viegas
    Rights © 2019 Aletheia - Associação Científica e Cultural | © 2019 Revista Portuguesa de Filosofia
    Volume 75
    Issue 4
    Pages 2375-2392
    Publication Revista Portuguesa de Filosofia
    ISSN 0870-5231
    Date 2019
    DOI https://doi.org/10.17990/RPF/2019_75_4_2375
    Language English
    Abstract What is Philosophy?, the third volume of the series of books that Gilles Deleuze and Félix Guattari wrote on “Capitalism and Schizophrenia”, presents us with a rather unusual idea, but one that is essential to understanding contemporary philosophical thought: the notion that philosophy is a concept-creating machine that must be connected to other machines, such as the arts and the sciences. Philosophy, science, and art are three distinct forms of reliable thinking. Given the heterogeneity of thinking, in what sense can the three distinct forms of thinking answer the problem of creating concepts and using the machine as an allegory? This essay aims to analyse philosophy’s role in its relation to artistic and scientific practices by examining Dziga Vertov’s Man with a Moving Camera (1929). It will focus on three guiding principles: creation is not exclusive to art and the sensible; philosophy mediates the relation between art and the sciences; and this mediation aims to keep their discord alive, not to solve it.
    Short Title RPF
    Date Added 1/28/2020, 4:32:54 PM
    Modified 1/28/2020, 5:34:57 PM

    Tags:

    • chaos,
    • Deleuze,
    • forces,
    • Guattari,
    • machinism,
    • Vertov

    Notes:

    • Bergson, Henri. Creative Evolution. Translated by Arthur Mitchell. London: Macmillan, 1922.
      Bogue, Ronald. Deleuze on Music, Painting and the Arts. London/New York: Routledge, 2003a.
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      Butler, Rex. Deleuze and Guattari’s ‘What is Philosophy?’ Reader’s Guides. London/New York: Bloomsbury Academic, 2016.
      Deleuze, Gilles and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Translated by Helen R. Lane, Robert Hurley and Mark Seem. Minneapolis: University of Minnesota Press, 1983.
      Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1987.
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      Deleuze, Gilles. « Les conditions de la question: qu’est-ce que la philosophie? ». Chimères 8, 1990: 123-132.
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      Owens, Craig. “The Allegorical Impulse: Toward a Theory of Postmodernism.” October 12 (1980): 67-86. doi:10.2307/778575.
      O’Sullivan, Simon. “From Aesthetics to the Abstract Machine: Deleuze, Guattari, and Contemporary Art Practice.” In Deleuze and Contemporary Art. Edited by Stephen Zepke and Simon O’Sullivan, 189-207. Edinburgh: Edinburgh University Press, 2010.
      Vertov, Dziga. Kino-Eye: The Writings of Dziga Vertov. Edited by Annette Michelson. Berkeley: University of California Press, 1984.
      Viegas, Susana. “Gilles Deleuze and Early Cinema: the Modernity of the Emancipated Time.” Early Popular Visual Culture 14.3, 2016: 234-250.
      Zourabichvili, François. “The Eye of Montage: Dziga Vertov and Bergsonian Materialism.” In The Brain Is the Screen, edited by Gregory Flaxman, 141-149. Minneapolis: University of Minnesota Press, 2000.

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